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Grindcore
Stylistic origins
Cultural originsMid-1980s, England
Derivative forms
Fusion genres
Regional scenes
Local scenes
Birmingham
Other topics

Grindcoreis anextremefusion genre ofheavy metalandhardcore punkthat originated in the mid-1980s, drawing inspiration from abrasive-sounding musical styles, such asthrashcore,[3][4]crust punk,[5]hardcore punk,extreme metal,andindustrial.Grindcore is considered a more noise-filled style of hardcore punk while using hardcore's trademark characteristics such as heavilydistorted,down-tuned guitars,grindingoverdriven bass,high-speedtempo,blast beats,and vocals which consist ofgrowls,shouts and high-pitched shrieks. Early groups such as England'sNapalm Deathare credited with laying the groundwork for the style. It is most prevalent today in North America and Europe, with popular contributors such asBrutal TruthandNasum.Lyrical themes range from a primary focus on social and political concerns, to gory subject matter andblack 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.[6]Napalm Death holds theGuinness World Recordfor shortest song ever recorded with the one-second "You Suffer"(1987). Many bands, such asAgoraphobic Nosebleed,record simple phrases that may be rhythmically sprawled out across an instrumental lasting only a couple ofbarsin length.

A variety of subgenres andmicrogenreshave subsequently emerged, often labeling bands according to traits that deviate from regular grindcore; includinggoregrind,focused on themes of gore (e.g. mutilation andpathology), andpornogrind,fixated onpornographiclyrical themes. Another offshoot is cybergrind which incorporateselectronic musicelements such assamplingand programmed drums. Although influential within hardcore punk and extreme metal, grindcore remains an underground form of music.

Characteristics

[edit]

Grindcore is influenced bycrust punk,[5]thrashcore,[3]hardcore punkandthrash metal,[7]as well asnoisemusical acts likeSwans.[8]The name derives from the fact thatgrindis a British term forthrash;that term was prepended to-corefromhardcore.[9]Grindcore relies on standard hardcore punk instrumentation:electric guitar,bassanddrums.[10]However, grindcore alters the usual practices of metal or rock music in regard to song structure and tone.[10]The vocal style is "ranging from high-pitched shrieks to low, throat-shreddinggrowlsand barks. "[10]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 bandNaked City.[11]

A characteristic of some grindcore songs is the "microsong," lasting only a few seconds. In 2001, theGuinness Book of World Recordsawarded 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.[12]Beyond the microsong, it is characteristic of grindcore to have short songs in general; for example,Carcass' debut albumReek of Putrefaction(1988) consists of 22 tracks with an average length of 1 minute and 48 seconds. It is also not uncommon 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 chordsand heavydistortion.While thevinylA-sideof Napalm Death's debut, 1987'sScum,is set toEb tuning,on side B, the guitars are tuned down to C. Their second albumFrom Enslavement to Obliterationand theMentally MurderedEP were tuned toC♯.Harmony Corruption,their third full-length album, was tuned up to aD.Bolt Throwerwent further, dropping 3½ steps down (A).[13]Bass is tuned low as well, and is often distorted.

Blast beat

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Main article:Blast beat
An example of a blast beat
A blast beat played at tempos of 124, 160, 200 and 240 BPM, respectively.
Problems playing this file? Seemedia help.

The blast beat is a drum beat characteristic of grindcore in all its forms,[14]although its usage predates the genre itself, and the drum technique may have originated injazzwith drummerTony Williamscredited with its use in a 1979 concert by theTrio of Doom.[15]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."[14]Blast beats have been described as "maniacal percussive explosions, less about rhythm per se than sheer sonic violence."[16]Napalm Death coined the term,[16]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" )[17]Dirty Rotten Imbeciles( "No Sense" ),[14]Stormtroopers of Death( "Milk" ),[18]Sarcófago( "Satanas" ),[19]Sepultura( "Antichrist" ),[20]andRepulsion[21]also included the technique prior to Napalm Death's emergence.

Lyrical themes

[edit]

Grindcore lyrics are typically provocative. A number of grindcore musicians are committed to political and ethical causes, generally leaning towards thefar leftin connection to grindcore's punk roots.[22]For example, Napalm Death's songs address a variety ofanarchistconcerns, in the tradition ofanarcho-punk.These themes includeanti-racism,feminism,anti-militarism,andanti-capitalism.Early grindcore bands including Napalm Death,AgathoclesandCarcassmadeanimal rightsone of their primary lyrical themes.[23]Some of them, such asCattle Decapitationand Carcass, have expressed disgust with human behavior and animal abuse, and are, in some cases,vegetariansorvegans.[24]Carcass' work in particular is often identified as the origin of thegoregrindstyle, which is devoted to "bodily" themes.[25]Groups that shift their bodily focus to sexual matters, such asGutand the Meat Shits, are sometimes referred to aspornogrind.[26]Seth Putnam's lyrics are notorious for theirblack comedy,[27]whileThe Locusttend towardsatiricalcollage, indebted toWilliam S. Burroughs'cut-upmethod.[28]

History

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Precursors

[edit]

The early grindcore scene relied on an international network oftape tradingandDIYproduction.[29]The most widely acknowledged precursors of the grindcore sound areSiege[30]andRepulsion,an earlydeath metaloutfit.[21]Siege, fromWeymouth, Massachusetts,were influenced by classicAmericanhardcore(Minor Threat,Black Flag,Void) and byBritishgroups likeDischarge,Venom,andMotörhead.[31]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 them'",drummer Robert Williams recalled.[31]Repulsion is sometimes credited with inventing the classic grindblast beat(played at 190bpm), as well as its distinctive bass tone.[21]Kevin SharpofBrutal Truthdeclares that "Horrifiedwas and still is the defining core of what grind became; a perfect mix of hardcore punk with metallic gore, speed and distortion. "[32]Writer Freddy Alva creditedNYC Mayhemas a notable precursor, calling them "arguably one of the fastest bands on the planet back [in the mid 1980s]".[33]

Other groups in the British grindcore scene, such asHeresyandUnseen Terror,have emphasized the influence of Americanhardcore punk,includingSeptic Death,as well as SwedishD-beat.[34]Sore Throatcites Discharge,Disorder,and a variety of European D-beat and thrash metal groups, includingHellhammer,[35]and American hardcore groups, such asPoison Ideaand D.R.I.[35]Japanese hardcore,particularlyGISM,is also mentioned by a number of originators of the style.[36]Other key groups cited by current and former members of Napalm Death as formative influences include Discharge,[37]Amebix,[38]Throbbing Gristle,[39]and the aforementioned Dirty Rotten Imbeciles.[39]Post-punk,such asKilling Joke[37]andJoy Division,[40]was also cited as an influence on early Napalm Death.

British grindcore

[edit]
Grindcore pioneers Napalm Death in a 2007 show
External videos
video iconNapalm Death live in Germany, 1987,fromYouTube,authorized byEarache Records.

Grindcore, as such, was developed during the mid-1980s in the United Kingdom byNapalm Death,a group who emerged from theanarcho-punkscene in Birmingham, England.[3]While their first recordings were in the vein ofCrass,[3]they eventually became associated withcrust punk,[41]The group began to take on increasing elements ofthrashcore,post-punk,andpower electronics,and began describing their sound as "Siege withCeltic Frostriffs ".[42]The group also went through many changes in personnel.[43]A major shift in style took place afterMick Harrisbecame the group's drummer.[43]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."[43]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 describeSwansafter 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.[44]

Other sources contradict Harris' claim. In aSpinmagazine article written about the genre,Steven Blushdeclares that "the man often credited" for dubbing the style grindcore wasShane 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 intoCeltic Frost,Siege – which is a hardcore band fromBoston– 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.[45]

Earache RecordsfounderDigby Pearsonconcurs with Embury, saying that Napalm Death "put hardcore and metal through an accelerator."[46]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."[47]

While abrasive, grindcore achieved a measure of mainstream visibility.New Musical Expressfeatured Napalm Death on their cover in 1988, declaring them "the fastest band in the world."[48]As James Hoare, deputy editor ofTerrorizer,writes:

It can be argued that no strand ofextreme metal(with a touch ofhardcoreandpost-punktossed in for flavouring), has had so big an impact outside the gated community of patch-jackets andcircle-pitsas grindcore has in the UK. [...] the genre is a part of the British musical experience.[49]

Napalm Death's seismic impact inspired other British grindcore groups in the 1980s, among themExtreme Noise Terror,[41]CarcassandSore Throat.[50]Extreme Noise Terror, from Ipswich, formed in 1984.[51]With the goal of becoming "the most extreme hardcore punk band of all time,"[52]the group took Mick Harris from Napalm Death in 1987.[53]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."[53]In 1991, the group collaborated with theacid housegroupThe KLF,appearing onstage with the group at theBrit Awardsin 1992.[54]Carcass releasedReek of Putrefactionin 1988, whichJohn Peeldeclared his favorite album of the year despite its very poor production.[55]The band's focus on gore and anatomical decay, lyrically and in sleeve artwork, inspired thegoregrindsubgenre.[25]Sore Throat, said by Ian Glasper to have taken "perhaps the most uncompromisingly anti-music stance"[56]were inspired by crust punk as well as industrial music.[57]Some listeners, such as Digby Pearson, considered them to be simply an in-joke or parody of grindcore.[58]

In the subsequent decade, two pioneers of the style became increasingly commercially viable. According toNielsen Soundscan,Napalm Death sold 367,654 units between May 1991 and November 2003, while Carcass sold 220,374 units in the same period.[59]The inclusion of Napalm Death's "Twist the Knife (Slowly)"on theMortal Kombatsoundtrack brought the band much greater visibility, as the compilation scored a Top 10 position in theBillboard200chart[60]and wentplatinumin less than a year.[61]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: "grindcorewas 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. "[62]Lee Dorrianof 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."[63]

North American grindcore

[edit]
Seth Putnamof Anal Cunt at Relapse Festival, 1993
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, anddeath metal.[64]As early Napalm Death albums were not widely distributed in the United States, American groups tended to take inspiration from later works, such asHarmony Corruption.[64]American groups also often employ riffs taken fromcrossover thrashorthrash metal.[64]Early American grind practitioners includedTerrorizerandAssück.[50]Anal Cunt,a particularly dissonant group who lacked a bass player, were also particularly influential.[64]Their style was sometimes referred to as "noisecore" or "noisegrind", described by Giulio ofCripple Bastardsas "the most anti-musical and nihilistic face of extreme music at that time."[29][65]Brutal Truthwas a groundbreaking group in the American scene at the beginning of the 1990s.[50]

However, Sharp indicates that they were more inspired by the thrash metal ofDark Angelthan the British groups.[32]Discordance Axishad a more technical style of playing than many of the predecessors, and had a much more ornate visual and production style.[64]Scott Hullis prominent in the contemporary grindcore scene, through his participation inPig DestroyerandAgoraphobic Nosebleed.[66]ANb'sFrozen Corpse Stuffed with Dopehas been described as "thePaul's Boutiqueof grindcore ", byVillage Voicecritic Phil Freeman, for its "hyper-referential, impossibly dense barrage of samples, blast beats, answering machine messages, and incomprehensibly bellowed rants."[67]Pig Destroyer is inspired by thrash metal, such as Dark Angel andSlayer,thesludge metalof theMelvins,and grindcore practiced by Brutal Truth,[68]while Agoraphobic Nosebleed takes cues fromthrashcoreandpowerviolence,like D.R.I. andCrossed Out.[68][69]

External videos
video iconPig Destroyer's "Gravedancer",fromYouTube,authorized byRelapse Records.

The Locust,from San Diego,[66]also take inspiration from powerviolence (Crossed Out,Dropdead), first-wavescreamo(Angel Hair), obscureexperimental rock(Art Bears,Renaldo and the Loaf), and death metal.[70]The Locust were sometimes described as "hipstergrind "because of their fan base and fashion choices.[64]In Los Angeles,Holealso 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),[71]all of which featured sexually provocative and violent lyrics, as well as the heavy distortion and fluctuating tempo that distinguished the genre. FrontwomanCourtney Lovestated 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.[71]

Other later prominent grindcore groups of North America includeBrujeria,[72]Soilent Green,[73]Cephalic Carnage,Impetigo,[74]andCircle of Dead Children.[75]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" byAllMusicreviewer Greg Prato.[76]

Continental European grindcore

[edit]
Finnish grindcore group Rotten Sound performing in Kuopio in 2008

European groups, such asAgathocles,from Belgium,[50]Patareni,of Croatia, andFear of God,from Switzerland, are important early practitioners of the style.[77]Filthy Christians, who signed to Earache Records in 1989, introduced the style in Sweden,[78]D.D.T. & Fear of Dog were pioneering grind & noise in Serbia since mid-end of '80,Extreme Smoke 57in Slovenia at the early beginning of the '90, whileCripple Bastardsestablished Italian grindcore.[34]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.[34] Nasum,who emerged from theSwedish death metalscene,[79]became a popular group, addressing political topics from a personal perspective.[80]

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, notsellouts,but not really true to the original essence of grindcore. "[80]Other Swedish groups, such asGeneral SurgeryandRegurgitate,practiced goregrind.[81]Inhume,from the Netherlands,[82]Rotten Sound,from Finland,[83]andLeng Tch'e,from Belgium,[84]were subsequent European groups who practiced grindcore with death metal inflections. In 2000s, the Belgium-basedAborted"had grown into the role of key contributors to the death-grind genres".[85]

Grindcore in Asian countries

[edit]

In 2010,SingaporeanbandWormrotsigned arecording contractwithEarache Records.[86][87]

In 2019,Filipinoband TUBERO signed arecording contractwith Tower of Doom Records.[88]

Influence

[edit]

Japanese noise rock groupBoredomshave borrowed elements of grind,[10][89]and toured with Brutal Truth in 1993.[90]The Japanese grindcore groupGore Beyond Necropsyformed in 1989, and later collaborated withnoise musicartistMerzbow.[91]Naked City,led by avant-garde jazzsaxophonistJohn Zorn,performed an avant-garde form ofpolystylistic,grindcore-influencedpunk jazz.[92][93]Zorn later formed thePainkillerproject withambient dubproducerBill Laswellon bass guitar and Mick Harris on drums,[94]which also collaborated with Justin Broadrick on some work.[95]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

[edit]
Main article:Powerviolence

Powerviolenceis a raw and dissonant subgenre ofhardcore punk.[96][97]The style is closely related tothrashcore[96]and similar to grindcore. While powerviolence took inspiration from Napalm Death and other early grind bands, powerviolence groups avoided elements of heavy metal.[98]Its nascent form was pioneered in the late 1980s in the music of hardcore punk bandInfest,who mixedyouth crewhardcore elements with noisier, sludgier qualities ofLärmandSiege.[96][97]The microgenre solidified into its most commonly recognized form in the early 1990s, with the sounds of bands such asMan Is the Bastard,Crossed Out,No Comment,Capitalist Casualties,and Manpig.[96]

Powerviolence bands focus on speed, brevity, bizarre timing breakdowns, and constant tempo changes.[96]Powerviolence songs are often very short; it is not uncommon for some to last less than 30 seconds.[96]Some groups, particularly Man Is the Bastard, took influence fromsludge metalandnoise music.[96][97]Lyrically and conceptually, powerviolence groups were very raw and underproduced, both sonically and in their packaging.[96][97]Some groups (Man Is the Bastard, Azucares andDropdead) took influence fromanarcho-punkandcrust punk,emphasizinganimal rightsandanti-militarism.[97]The Locust[99]andAgoraphobic Nosebleedlater reincorporated elements of powerviolence into grindcore.[68]

Industrial and electronic influence

[edit]
See also:Hardcore punk § Electronic music
Justin Pearsonof The Locust, originators of electrogrind.

Among other influences, Napalm Death took impetus from theindustrial musicscene.[39]Subsequently, Napalm Death's former guitarist,Justin Broadrick,went on to a career inindustrial metalwithGodflesh.[37]Mick Harris, in his post-Napalm Death project,Scorn,briefly experimented with the style.[100]Scorn also worked in theindustrial hip hop[101]andisolationiststyles.[102]Fear Factory[103]have also cited debts to the genre.Digital hardcoreis an initially German hybrid of hardcore punk andhardcore techno.[104]Agoraphobic Nosebleed and the Locust have solicited remixes from digital hardcore producers andnoise musicians.[105][106]James Plotkin,Dave Witte,andSpeedranchparticipated in thePhantomsmasherproject, which melds grindcore and digital hardcore.Alec Empirecollaborated with Justin Broadrick, on the firstCurse of the Golden Vampirealbum,[107]and withGabe Serbian,of the Locust, live in Japan.[108]JapanoiseiconMerzbowalso participated in the Empire/Serbian show.[108]

Electrogrind

[edit]
Not to be confused withelectronicore.

The 21st century also saw the development of "electrogrind" (or "cybergrind" ),[109][110]practiced byThe Berzerker,Gigantic BrainandGenghis Tronwhich borrows fromelectronic music.[65]These groups built on the work of Agoraphobic Nosebleed,Enemy Soiland The Locust, as well as industrial metal.[109]The Berzerker also appropriated the distortedRoland TR-909kick drumsofgabberproducers.[111]Bands like Libido Airbag and Cumfilled Brain incorporates elements of Grindcore, such as pitch-shifted, gurgled vocals, with the rhythmic structures ofTechstep.Many later electrogrind groups were caricatured for their hipster connections.[109]

Mathcore and screamo

[edit]
Main article:Mathcore

In the mid-1990s,mathcoregroups[112][113]such asThe Dillinger Escape Plan,[114]Some Girls,[115]andDaughters[116][117]began to take inspiration from developments in grindcore. These groups also include elements ofpost-hardcore.[112]In addition to mathcore, some earlyscreamogroups,[118]likeCircle Takes the SquareandOrchid,[119]have been associated with grindcore by some commentators.

Crust punk

[edit]

Crust punkhad a major impact on grindcore's emergence. The first grindcore, practiced by British bands such asNapalm Death,Extreme Noise TerrorandDisruptemerged from the crust punk scene. This early style is sometimes dubbed "crustgrind".[5]

Deathgrind

[edit]

Deathgrind is a shorthand term that is used to describe bands who play a fusion ofdeath metaland 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 asdeath-grindordeath/grind).[120]Dan Lilkerdescribed deathgrind as "combining the technicality of death metal with the intensity of grindcore."[121]Some examples of death metal and grindcore hybrids includeAssück,Circle of Dead Children,Misery Index,Exhumed,GorerottedandCattle Decapitation.[122][85][123][124][125]Assück in particular has been credited as one of the earliest deathgrind acts.[126]

Blackened grindcore

[edit]

Blackened grindcore is a fusion genre that combines elements ofblack metaland grindcore.[127][128]Notable bands includeAnaal Nathrakhand earlyRotting Christ.[129]

Noisegrind

[edit]

Noisegrind is amicrogenrethat combines elements of grindcore and harsh noise.[130]Notable bands include Holy Grinder,[131]Sete Star Sept,[132]Full of Hell,[133]Fear of God,[130]Insufferable,[134]and early Knelt Rote.[135]

See also

[edit]

Notes

[edit]
  1. ^"Grindcore Unleashed: The Birth, Evolution, and Impact of an Extreme Genre".Heavy Chronicle.
  2. ^ROA, RAY."WTF is sasscore, and why is SeeYouSpaceCowboy bringing it to St. Petersburg's Lucky You Tattoo?".Creative Loafing.Retrieved9 February2019.
  3. ^abcdGlasper 2009, p. 11
  4. ^Mudrian, Albert (2009).Choosing Death: The Improbable History of Death Metal & Grindcore.
  5. ^abc"In Grind We Crust"Terrorizer#181, March 2009, p. 46, 51
  6. ^Metal: The Definitive Guide (Garry Sharpe-Young), US Death Metal and Grindcore
  7. ^"Grindcore Music Genre Overview - AllMusic".AllMusic.
  8. ^Steven Blush."Grindcore: Our 1991 Feature on the Metal Subgenre".Spin.
  9. ^Prown, Pete; Newquist, HP (1997). "Chapter Thirty-three: Industrial and Grindcore".Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists.Hal Leonard Corporation. p. 249.ISBN978-0793540426.
  10. ^abcd"Grindcore", Allmusic.[1]Access date: 16 September 2008.
  11. ^"The Quietus | Features | Anniversary | Early Reflections On Life In The Information Age: John Zorn's Naked City Turns 30".The Quietus.Retrieved6 September2023.
  12. ^McPheeters, Sam (9 March 2006)."Extreme Extremeness".Orange County Weekly. Archived fromthe originalon 29 September 2012.Retrieved27 March2011.
  13. ^Johnson 2007, page 04.
  14. ^abcAdam MacGregor, Agoraphobic Nosebleed review,Dusted,11 June 2006.[2]Archived21 December 2008 at theWayback MachineAccess date: 2 October 2008.
  15. ^Review ofThe Trio of Doom Liveby Thom Jurek,AllMusic."On 'Dark Prince' and elsewhere, it's obvious that Williams is the true inventor of the blastbeat, not some generic heavy metal drummer."
  16. ^abStrub, Whitney."Behind the Key Club: An Interview with Mark 'Barney' Greenway of Napalm Death".PopMatters,11 May 2006. Retrieved 17 September 2008.
  17. ^Ekeroth, p. 22.
  18. ^Stormtroopers of Death, 1985, track 11.
  19. ^Sarcófago,
  20. ^Sepultura, 1986, track 10.
  21. ^abcMatthew Widener (August 2008)."Scared to Death: The Making of Repulsion'sHorrified".Decibel no. 46.pp. 63–69.ISBN9780306818066.Retrieved8 June2020.
  22. ^"Grindcore Special," p. 46.
  23. ^Barchi, Rodrigo (January 2017)."O ruído infame das ecologias menores".Revista do Lhiste(in Portuguese). Vol. 4, no. 6. Porto Alegre, Brazil. pp. 190 (Napalm Death), 191 (Carcass) and 193–194 (Agathocles).ISSN2359-5973.Archivedfrom the original on 18 March 2019.Retrieved24 March2019.O grindcore, em sua herança punk libertária, absorve e dissemina as mais diversas preocupações entre os próprios punks, [...] Uma das mais caras é a questão dos direitos dos animais, o vegetarianismo, o veganismo e o que é chamado de especismo.
  24. ^Carcass biography. NME.com.[3]Access date: 25 April 2009.
  25. ^abWidener, Matthew."Carcass Clones".Decibel Magazine.Archived fromthe originalon 14 December 2007.Retrieved28 November2007.
  26. ^Purcell, Natalie J. (2003).Death Metal Music: The Passion and Politics of a Subculture.McFarland. pp. 23–24.ISBN0-7864-1585-1.Retrieved28 November2007.
  27. ^Eduardo Rivadavia, Anal Cunt bio, Allmusic.[4]Access date: 25 April 2009.
  28. ^"The Locust: Catching Up with JP".17 October 2007.Retrieved18 January2018.
  29. ^ab"Grindcore Special", p. 44.
  30. ^Steven Blush, "Boston Not L.A.",American Hardcore,Feral House, p. 171.
  31. ^abMudrian 2004, p. 50.
  32. ^ab"Grindcore Special", p. 41.
  33. ^"FREDDY ALVA".Archived fromthe originalon 28 July 2018.Retrieved28 July2018.
  34. ^abc"Grindcore Special," p. 43.
  35. ^ab"Grindcore Special", p. 45.
  36. ^"Grindcore Special", p. 52.
  37. ^abc"Dark Recollections: Napalm Death, Scum,"Terrorizer,issue 183, May 2009, p. 84-85
  38. ^Atkinson, Peter (7 February 2003)."Fire in the Belly: Interview With Napalm Death's Mark" Barney "Greenway".KNAC.COM.Retrieved19 June2008.
  39. ^abcMudrian 2004, page 31.
  40. ^Interview with Mick Harris, DVD half of Napalm Death'sScum20 year anniversaryreissue.
  41. ^ab"Crustgrind", "Grindcore Special" part 2, p. 46
  42. ^Glasper 2009, p. 12
  43. ^abcGlasper 2009, p. 14
  44. ^Mudrian 2004, page 35.
  45. ^Blush 1991, page 36
  46. ^Blush 1991, page 35
  47. ^Pearson, Digby (26 April 2007)."Godflesh/PSI etc – are they Grind?".Ask earache – BraveWords.com.Retrieved15 June2008.
  48. ^Glasper 2009, p. 22
  49. ^James Hoare,Terrorizer,#180, February 2009, p. 1.
  50. ^abcdFelix von Havoc,Maximum Rock'n'Roll#198."Havoc Records and Distribution".Archived fromthe originalon 5 June 2008.Retrieved20 June2008.Archived by Havoc Records. Access date: 20 June 2008.
  51. ^Glasper 2009, p. 273
  52. ^Dean Jones, quoted in Glasper 2009, p. 273
  53. ^abGlasper 2009, p. 275
  54. ^Glasper 2009, p. 277
  55. ^Mudrian 2004, p. 132
  56. ^Glasper 2009, p. 237
  57. ^Glasper 2009, p. 238
  58. ^Glasper 2009, p. 502
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References

[edit]
  • 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.ISBN978-0-9796163-1-0
  • Glasper, Ian (2009).Trapped in a Scene: UK Hardcore 1985-1989.Cherry Red Books.ISBN978-1-901447-61-3
  • Grindcore Special (2009),Terrorizer,180,41–56, and181,41–56.
  • Johnson, Richard (2007)."Napalm death"(PDF).Disposable Underground.15(38): 02–04. Archived fromthe original(PDF)on 6 July 2008.
  • 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. OnWarfare Noise[CD]. Belo Horizonte, MG: Cogumelo Records. (2007).
  • Sepultura (1986). Antichrist. OnMorbid Visions[CD]. New York: Roadrunner Records. (1997).

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