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Extreme genre of music

Grindcore
Stylistic origins
  • Crust punk
  • thrashcore
  • hardcore punk
  • farthermost metal
  • thrash metallic
  • industrial
Cultural origins Mid-1980s, England
Derivative forms
  • Mathcore
  • sass[1]
Fusion genres
  • Deathgrind
  • goregrind
  • pornogrind
Regional scenes
  • Indonesia
  • United kingdom of great britain and northern ireland
Local scenes
Birmingham
Other topics
  • Anarcho-punk
  • crossover thrash
  • D-beat
  • death metallic
  • industrial metal
  • metalcore
  • powerviolence
  • sludge metal

Grindcore is an farthermost fusion genre of heavy metal and hardcore punk that originated in the mid-1980s, drawing inspiration from annoying-sounding musical styles, such every bit thrashcore,[ii] [three] crust punk,[4] hardcore punk, extreme metal, and industrial. Grindcore is considered a more noise-filled manner of hardcore punk while using hardcore's trademark characteristics such every bit heavily distorted, down-tuned guitars, grinding overdriven bass, high-speed tempo, blast beats, and vocals which consist of growls and loftier-pitched shrieks. Early on groups similar Napalm Death are credited with laying the groundwork for the way. It is about prevalent today in North America and Europe, with popular contributors such as Savage Truth and Nasum. Lyrical themes range from a primary focus on social and political concerns, to gory discipline affair and black sense of humor.

A trait of grindcore is the "microsong" much shorter than boilerplate for punk or metallic; several bands accept produced songs that are only seconds in length.[5] British band Napalm Death holds the Guinness World Record for shortest song ever recorded with the one-second "You lot Suffer" (1987). Many bands, such every bit Agoraphobic Nosebleed, record simple phrases that may exist rhythmically sprawled out beyond an instrumental lasting only a couple of bars in length.

A variety of subgenres and microgenres have subsequently emerged, often labeling bands co-ordinate 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 adjunct is cybergrind which incorporates electronic music elements such every bit sampling and programmed drums. Although influential inside hardcore and farthermost metal, grindcore remains an underground form of music.

Characteristics [edit]

Grindcore is influenced past crust punk,[four] thrashcore[ii] hardcore punk and thrash metal,[half-dozen] The proper name derives from the fact that grind is a British term for thrash; that term was appended to -core from hardcore.[7] Grindcore relies on standard hardcore punk instrumentation: electrical guitar, bass and drums.[viii] Even so, grindcore alters the usual practices of metal or stone music in regard to vocal construction and tone.[8] The song style is "ranging from high-pitched shrieks to depression, throat-shredding growls and barks."[viii] In some cases, no clear lyrics exist. Vocals may be used as but an added sound event, a common practice with bands such as the experimental Naked City.

A feature of some grindcore songs is the "microsong," lasting only a few seconds. In 2001, the Guinness Book of Earth 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.[9] Across the microsong, it is characteristic of grindcore to have brusque songs in general; for instance, Carcass' debut anthology Reek of Putrefaction (1988) consists of 22 tracks with an average length of 1 minute and 48 seconds. Information technology is also not uncommon for grindcore albums to be very short when compared to other genres, usually consisting of a large rail list but having a total length of only 15 to 20 minutes.

Many grindcore groups experiment with down-tuned guitars and play mostly with down picking, ability chords and heavy distortion. While the vinyl A-side of Napalm Death's debut, 1987's Scum, is fix to Eb tuning, on side B, the guitars are tuned down to C. Their 2d album From Enslavement to Obliteration and the Mentally Murdered EP were tuned to C ♯. Harmony Corruption, their tertiary full-length album, was tuned up to a D. Commodities Thrower went further, dropping 3½ steps down (A).[x] Bass is tuned low also, and is often distorted.

Smash beat [edit]

The blast beat is a pulsate vanquish characteristic of grindcore in all its forms,[11] although its usage predates the genre itself, and the pulsate technique may have originated in jazz with drummer Tony Williams credited with its use in a 1979 concert by the Trio of Doom.[12] In Adam MacGregor'south definition, "the blast-beat mostly 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-lid cymbal."[11] Blast beats take been described every bit "maniacal percussive explosions, less near rhythm per second than sheer sonic violence."[xiii] Napalm Expiry coined the term,[13] though this style of drumming had previously been skillful by others. Daniel Ekeroth argues that the nail beat was first performed by the Swedish group Asocial on their 1982 demo. Lärm ("Campaign For Musical Destruction")[14] Muddied Rotten Imbeciles ("No Sense"),[11] Stormtroopers of Decease ("Milk"),[15] Sarcófago ("Satanas"),[sixteen] Sepultura ("Antichrist"),[17] and Repulsion[18] also included the technique prior to Napalm Expiry'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 the far left in connection to grindcore's punk roots.[xix] For case, Napalm Death's songs accost a variety of anarchist concerns, in the tradition of anarcho-punk. These themes include anti-racism, feminism, anti-militarism, and anti-capitalism. Early on grindcore bands including Napalm Death, Agathocles and Carcass made brute rights ane of their primary lyrical themes.[twenty] Some of them, such as Cattle Decapitation and Carcass, accept expressed cloy with human behavior and animal abuse, and are, in some cases, vegetarians or vegans.[21] Carcass' piece of work in item is oftentimes identified as the origin of the goregrind style, which is devoted to "bodily" themes.[22] Groups that shift their actual focus to sexual matters, such equally Gut and the Meat Shits, are sometimes referred to equally pornogrind.[23] Seth Putnam's lyrics are notorious for their black comedy,[24] while The Locust tend toward satirical collage, indebted to William S. Burroughs' cut-up method.[25]

History [edit]

Precursors [edit]

The early grindcore scene relied on an international network of tape trading and DIY product.[26] The most widely acknowledged precursors of the grindcore sound are Siege[27] and Repulsion, an early on death metal outfit.[eighteen] Siege, from Weymouth, Massachusetts, were influenced by classic American hardcore (Modest Threat, Blackness Flag, Void) and by British groups like Belch, Venom, and Motörhead.[28] Siege's goal was maximum velocity: "We would heed to the fastest punk and hardcore bands nosotros could detect and say, 'Okay, we're gonna deliberately write something that is faster than them'", drummer Robert Williams recalled.[28] Repulsion is sometimes credited with inventing the classic grind blast beat (played at 190 bpm), every bit well every bit its distinctive bass tone.[18] Kevin Sharp of Brutal Truth declares that "Horrified was and withal is the defining core of what grind became; a perfect mix of hardcore punk with metallic gore, speed and distortion."[29] Author 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]".[30]

Other groups in the British grindcore scene, such as Heresy and Unseen Terror, accept emphasized the influence of American hardcore punk, including Septic Death, as well every bit Swedish D-beat out.[31] Sore Throat cites Belch, Disorder, and a variety of European D-shell and thrash metal groups, including Hellhammer,[32] and American hardcore groups, such every bit Poison Thought and D.R.I.[32] Japanese hardcore, particularly GISM, is also mentioned by a number of originators of the way.[33] Other key groups cited by current and one-time members of Napalm Decease every bit formative influences include Discharge,[34] Amebix,[35] Throbbing Gristle,[36] and the aforementioned Muddied Rotten Imbeciles.[36] Post-punk, such as Killing Joke[34] and Joy Division,[37] was besides cited as an influence on early Napalm Death.

British grindcore [edit]

Grindcore pioneers Napalm Death in a 2007 show

External video
video icon Napalm Decease live in Germany, 1987, from YouTube, authorized past Earache Records.

Grindcore, as such, was developed during the mid-1980s in the Uk by Napalm Death, a group who emerged from the anarcho-punk scene in Birmingham, England.[2] While their first recordings were in the vein of Crass,[2] they eventually became associated with crust punk,[38] The group began to have on increasing elements of thrashcore, post-punk, and ability electronics, and began describing their sound as "Siege with Celtic Frost riffs".[39] The group also went through many changes in personnel.[40] A major shift in style took place after Mick Harris became the grouping's drummer.[40] Punk historian Ian Glasper indicates that "For several months gob-smacked audiences weren't sure whether Napalm Death were actually a serious band whatsoever longer, such was the undeniable novelty of their hyper-speed new drummer."[40] Albert Mudrian's research suggests that the name "grindcore" was coined by Harris. When asked virtually coming up with the term, Harris said:

Grindcore came from "grind", which was the only word I could apply to describe Swans afterwards buying their kickoff record in '84. And then with this new hardcore movement that started to really bloom in '85, I thought "grind" really fit considering of the speed so I started to call it grindcore.[41]

Other sources contradict Harris' claim. In a Spin magazine article written about the genre, Steven Blush declares that "the man ofttimes 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 on Swans. So, we just created a mesh of all those things. It's simply everything going at a hundred miles per hour, basically.[42]

Earache Records founder Digby Pearson concurs with Embury, saying that Napalm Death "put hardcore and metallic through an accelerator."[43] 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, past the musicians who were its innovators [and] proponents."[44]

While abrasive, grindcore achieved a mensurate of mainstream visibility. New Musical Express featured Napalm Death on their cover in 1988, declaring them "the fastest ring in the world."[45] Equally 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 equally grindcore has in the UK. [...] the genre is a part of the British musical feel.[46]

Napalm Death's seismic touch inspired other British grindcore groups in the 1980s, among them Extreme Noise Terror,[38] Carcass and Sore Throat.[47] Extreme Noise Terror, from Ipswich, formed in 1984.[48] With the goal of becoming "the almost extreme hardcore punk band of all time,"[49] the group took Mick Harris from Napalm Decease in 1987.[l] Ian Glasper describes the group equally "pissed-off hateful noise with its roots somewhere betwixt early on Discharge and Disorder, with [vocalists] Dean [Jones] and Phil [Vane] pushing their trademark song extremity to its absolute limit."[50] In 1991, the group collaborated with the acid house group The KLF, appearing onstage with the group at the Brit Awards in 1992.[51] Carcass released Reek of Putrefaction in 1988, which John Peel alleged his favorite album of the year despite its very poor production.[52] The band's focus on gore and anatomical disuse, lyrically and in sleeve artwork, inspired the goregrind subgenre.[22] Sore Throat, said by Ian Glasper to have taken "mayhap the almost uncompromisingly anti-music stance"[53] were inspired by crust punk as well every bit industrial music.[54] Some listeners, such as Digby Pearson, considered them to be merely an in-joke or parody of grindcore.[55]

In the subsequent decade, two pioneers of the style became increasingly commercially feasible. 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 menses.[56] The inclusion of Napalm Death'due south "Twist the Knife (Slowly)" on the Mortal Kombat soundtrack brought the ring much greater visibility, as the compilation scored a Superlative ten position in the Billboard 200 nautical chart[57] and went platinum in less than a year.[58] The originators of the style accept expressed some ambivalence regarding the subsequent popularity of grindcore. Pete Hurley, the guitarist of Extreme Noise Terror, alleged that he had no interest in being remembered as a pioneer of this fashion: "grindcore was a legendarily stupid term coined by a hyperactive child from the West Midlands, and it had nothing to do with u.s.a. whatever. 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-cadre genre-defining term you can come up with."[59] Lee Dorian of Napalm Death indicated that "Unfortunately, I think the same thing happened to grindcore, if you want to call it that, equally happened to punk stone – all the great original bands were merely plagiarised by a billion other bands who just copied their style identically, making it no longer original and no longer extreme."[60]

North American grindcore [edit]

Cruel Truth live at Hole In The Heaven, 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.[61] Every bit early Napalm Decease albums were not widely distributed in the United States, American groups tended to take inspiration from later works, such as Harmony Corruption.[61] American groups also frequently employ riffs taken from crossover thrash or thrash metallic.[61] Early American grind practitioners included Terrorizer and Assück.[47] Anal Cunt, a particularly dissonant grouping who lacked a bass player, were besides particularly influential.[61] Their way was sometimes referred to as "noisecore" or "noisegrind", described by Giulio of Cripple Bastards equally "the well-nigh anti-musical and nihilistic face of extreme music at that time."[26] [62] Brutal Truth was a groundbreaking grouping in the American scene at the beginning of the 1990s.[47]

All the same, Sharp indicates that they were more inspired by the thrash metal of Dark Angel than the British groups.[29] Discordance Axis had a more than technical style of playing than many of the predecessors, and had a much more ornate visual and product style.[61] Scott Hull is prominent in the contemporary grindcore scene, through his participation in Pig Destroyer and Agoraphobic Nosebleed.[63] ANb's Frozen Corpse Stuffed with Dope has been described as "the Paul'south Boutique of grindcore", past Hamlet Voice critic Phil Freeman, for its "hyper-referential, impossibly dumbo barrage of samples, boom beats, answering machine messages, and incomprehensibly bellowed rants."[64] Hog Destroyer is inspired by thrash metallic, such as Nighttime Angel and Slayer, the sludge metal of the Melvins, and grindcore practiced by Brutal Truth,[65] while Agoraphobic Nosebleed takes cues from thrashcore and powerviolence, similar D.R.I. and Crossed Out.[65] [66]

External video
video icon Grunter Destroyer's "Gravedancer", from YouTube, authorized past Relapse Records.

The Locust, from San Diego,[63] also take inspiration from powerviolence (Crossed Out, Dropdead), first-wave screamo (Angel Hair), obscure experimental rock (Art Bears, Renaldo and the Loaf), and death metallic.[67] The Locust were sometimes described as "hipster grind" considering of their fan base and mode choices.[61] In Los Angeles, Hole also initially drew influence from grindcore in their early on releases, particularly on their singles "Dicknail" and "Teenage Whore", every bit well as on their debut album, Pretty on the Within (1991),[68] all of which featured sexually provocative and fierce lyrics, as well equally 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 afterwards releases.[68]

Other later on prominent grindcore groups of N America include Brujeria,[69] Soilent Greenish,[70] Cephalic Carnage, Impetigo,[71] and Circumvolve of Dead Children.[72] Fuck the Facts, a Canadian group, practise archetype grindcore, characterized by the "metronome-precision drumming and riffing [that] abound, as well equally vocal screams and growls" by AllMusic reviewer Greg Prato.[73]

Continental European grindcore [edit]

Finnish grindcore grouping Rotten Sound performing in Kuopio in 2008

European groups, such as Agathocles, from Belgium,[47] Patareni, of Croatia, and Fear of God, from Switzerland, are of import early on practitioners of the style.[74] Filthy Christians, who signed to Earache Records in 1989, introduced the way in Sweden,[75] D.D.T. & Fear of Dog were pioneering grind & noise in Serbia since mid-stop of 'eighty, Farthermost Smoke 57 in Slovenia at the early outset of the 'xc, while Cripple Bastards established Italian grindcore.[31] Giulio of Cripple Bastards asserts that the proper name itself took some time to migrate from Britain, with the way being referred to as "death-thrashcore" for a fourth dimension in Europe.[31] Nasum, who emerged from the Swedish death metallic scene,[76] became a popular group, addressing political topics from a personal perspective.[77]

Anders Jakobson, their drummer, reported that "It was all these different types of people who enjoyed what we were doing. [...] Nosotros made grindcore a chip easier to listen to at the expense of the diehard grindcore fans who idea that nosotros were, well, not sellouts, simply not really true to the original essence of grindcore."[77] Other Swedish groups, such as General Surgery and Regurgitate, expert goregrind.[78] Inhume, from the Netherlands,[79] Rotten Sound, from Republic of finland,[80] and Leng Tch'due east, from Kingdom of belgium,[81] were subsequent European groups who practiced grindcore with death metal inflections. In 2000s, the Belgium-based Aborted "had grown into the role of primal contributors to the death-grind genres".[82]

Grindcore in Asian countries [edit]

In 2010, Singaporean band Wormrot signed a recording contract with Earache Records.[83] [84]

Influence [edit]

Japanese noise stone group Boredoms have borrowed elements of grind,[8] [85] and toured with Vicious Truth in 1993.[86] The Japanese grindcore group Gore Beyond Necropsy formed in 1989, and later collaborated with noise music artist Merzbow.[87] Naked Urban center, led past avant-garde jazz saxophonist John Zorn, performed an avant-garde form of polystylistic, grindcore-influenced punk jazz.[88] [89] Zorn later on formed the Painkiller project with ambience dub producer Bill Laswell on bass guitar and Mick Harris on drums,[90] which also collaborated with Justin Broadrick on some work.[91] In improver, grindcore was 1 influence on the powerviolence movement within American hardcore punk, and has affected some strains of metalcore. Some musicians have besides produced hybrids betwixt grind and electronic music.

Powerviolence [edit]

Powerviolence is a raw and dissonant subgenre of hardcore punk.[92] [93] The style is closely related to thrashcore[92] and like to grindcore. While powerviolence took inspiration from Napalm Decease and other early grind bands, powerviolence groups avoided elements of heavy metal.[94] 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.[92] [93] The microgenre solidified into its most commonly recognized form in the early 1990s, with the sounds of bands such every bit Man Is the Bastard, Crossed Out, No Comment, Capitalist Casualties, and Manpig.[92]

Powerviolence bands focus on speed, brevity, bizarre timing breakdowns, and constant tempo changes.[92] Powerviolence songs are often very short; it is not uncommon for some to last less than thirty seconds.[92] Some groups, specially Man Is the Bastard, took influence from sludge metal and noise music.[92] [93] Lyrically and conceptually, powerviolence groups were very raw and underproduced, both sonically and in their packaging.[92] [93] Some groups (Man Is the Bastard, Azucares and Dropdead) took influence from anarcho-punk and crust punk, emphasizing brute rights and anti-militarism.[93] The Locust[95] and Agoraphobic Nosebleed later reincorporated elements of powerviolence into grindcore.[65]

Industrial and electronic influence [edit]

Amid other influences, Napalm Death took impetus from the industrial music scene.[36] Subsequently, Napalm Decease'south former guitarist, Justin Broadrick, went on to a career in industrial metallic with Godflesh.[34] Mick Harris, in his post-Napalm Death project, Scorn, briefly experimented with the mode.[96] Scorn besides worked in the industrial hip hop[97] and neutralist styles.[98] Fearfulness Factory[99] accept too cited debts to the genre. Digital hardcore is an initially German hybrid of hardcore punk and hardcore techno.[100] Agoraphobic Nosebleed and the Locust have solicited remixes from digital hardcore producers and dissonance musicians.[101] [102] 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 anthology,[103] and with Gabe Serbian, of the Locust, live in Nippon.[104] Japanoise icon Merzbow also participated in the Empire/Serbian show.[104]

Electrogrind [edit]

The 21st century also saw the development of "electrogrind" (or "cybergrind"),[105] [106] adept by The Berzerker, Gigantic Brain and Genghis Tron which borrows from electronic music.[62] These groups congenital on the work of Agoraphobic Nosebleed, Enemy Soil and The Locust, also as industrial metallic.[105] The Berzerker as well appropriated the distorted Roland TR-909 kick drums of gabber producers.[107] Many later on electrogrind groups were caricatured for their hipster connections.[105]

Mathcore [edit]

In the mid-1990s, mathcore groups[108] [109] such as The Dillinger Escape Plan,[110] Some Girls,[111] and Daughters[112] [113] began to have inspiration from developments in grindcore. These groups too include elements of mail service-hardcore.[108] In addition to mathcore some early on screamo groups,[114] like Circumvolve Takes the Square and Orchid,[115] have been associated with grindcore by some commentators.

Crust punk [edit]

Crust punk had a major impact on grindcore'southward emergence. The first grindcore, skilful by British bands such equally Napalm Death, Extreme Noise Terror and Disrupt emerged from the crust punk scene. This early style is sometimes dubbed "crustgrind".[4]

Deathgrind [edit]

Deathgrind is a shorthand term that is used to depict bands who play a fusion of expiry metallic and grindcore. With growing popularity of grindcore in the metallic fandom, some death metal bands were noted to characteristic a heavy amount of grindcore influence, these bands ended upwards becoming called "deathgrind" for short (sometimes written as expiry-grind or expiry/grind).[116] Dan Lilker described deathgrind as "combining the technicality of death metal with the intensity of grindcore."[117] Some examples of death metal and grindcore hybrids include Assück, Circle of Dead Children, Misery Index, Napalm Death, Gorerotted and Cattle Decapitation.[118] [82] [119] [120] [121] Assück in item has been credited every bit 1 of the earliest deathgrind acts.[122]

Blackened grindcore [edit]

Blackened grindcore is a fusion genre that combines elements of blackness metal and grindcore.[123] [124] Notable bands include Anaal Nathrakh and early Rotting Christ.[125]

Noisegrind [edit]

Noisegrind is a microgenre that combines elements of grindcore and harsh noise.[126] Notable bands include Holy Grinder,[127] Sete Star Sept,[128] Full of Hell,[129] Fear of God,[126] Insufferable,[130] and early Knelt Rote.[131]

Run across also [edit]

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

Notes [edit]

  1. ^ ROA, RAY. "WTF is sasscore, and why is SeeYouSpaceCowboy bringing it to St. Petersburg's Lucky You lot Tattoo?". Artistic Loafing . Retrieved ix February 2019.
  2. ^ a b c d Glasper 2009, p. 11
  3. ^ Mudrian, Albert (2009). Choosing Death: The Improbable History of Death Metal & Grindcore.
  4. ^ a b c "In Grind We Crust" Terrorizer #181, March 2009, p. 46, 51
  5. ^ Metal: The Definitive Guide (Garry Sharpe-Young), US Death Metal and Grindcore
  6. ^ "Grindcore Music Genre Overview - AllMusic". AllMusic.
  7. ^ Prown, Pete; Newquist, Harvey P. (1997). "Chapter 30-3: Industrial and Grindcore". Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists. Hal Leonard Corporation. p. 249. ISBN978-0793540426.
  8. ^ a b c d "Grindcore", Allmusic. [1] Access date: 16 September 2008.
  9. ^ McPheeters, Sam (ix March 2006). "Extreme Extremeness". Orangish Canton Weekly. Archived from the original on 29 September 2012. Retrieved 27 March 2011.
  10. ^ Johnson 2007, page 04.
  11. ^ a b c Adam MacGregor, Agoraphobic Nosebleed review, Dusted, 11 June 2006. [two] Archived 21 December 2008 at the Wayback Auto Access engagement: 2 October 2008.
  12. ^ Review of The Trio of Doom Live by Thom Jurek, AllMusic. "On 'Nighttime Prince' and elsewhere, it's obvious that Williams is the true inventor of the blastbeat, not some generic heavy metal drummer."
  13. ^ a b Strub, Whitney. "Behind the Key Club: An Interview with Marker 'Barney' Greenway of Napalm Death". PopMatters, xi May 2006. Retrieved 17 September 2008.
  14. ^ Ekeroth, p. 22.
  15. ^ Stormtroopers of Death, 1985, track 11.
  16. ^ Sarcófago,
  17. ^ Sepultura, 1986, track 10.
  18. ^ a b c Matthew Widener (August 2008). "Scared to Death: The Making of Repulsion's Horrified". Decibel no. 46. pp. 63–69. ISBN9780306818066 . Retrieved 8 June 2020.
  19. ^ "Grindcore Special," p. 46.
  20. ^ 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). ISSN 2359-5973. Archived from the original on 18 March 2019. Retrieved 24 March 2019. 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.
  21. ^ Carcass biography. NME.com. [iii] Access appointment: 25 Apr 2009.
  22. ^ a b Widener, Matthew. Carcass Clones. Decibel Magazine. Archived from the original on 14 December 2007. Retrieved 28 November 2007.
  23. ^ Purcell, Natalie J. (2003). Decease Metal Music: The Passion and Politics of a Subculture. McFarland. pp. 23–24. ISBN0-7864-1585-i . Retrieved 28 November 2007.
  24. ^ Eduardo Rivadavia, Anal Cunt bio, Allmusic. [iv] Access date: 25 April 2009.
  25. ^ "The Locust: Catching Up with JP". 17 October 2007. Retrieved eighteen Jan 2018.
  26. ^ a b "Grindcore Special", p. 44.
  27. ^ Steven Chroma, "Boston Not L.A.", American Hardcore, Feral Firm, p. 171.
  28. ^ a b Mudrian 2004, p. 50.
  29. ^ a b "Grindcore Special", p. 41.
  30. ^ "FREDDY ALVA". Archived from the original on 28 July 2018. Retrieved 28 July 2018.
  31. ^ a b c "Grindcore Special," p. 43.
  32. ^ a b "Grindcore Special", p. 45.
  33. ^ "Grindcore Special", p. 52.
  34. ^ a b c "Dark Recollections: Napalm Expiry, Scum," Terrorizer, issue 183, May 2009, p. 84-85
  35. ^ Atkinson, Peter (7 February 2003). "Fire in the Belly: Interview With Napalm Decease's Marking "Barney" Greenway". KNAC.COM. Retrieved nineteen June 2008.
  36. ^ a b c Mudrian 2004, page 31.
  37. ^ Interview with Mick Harris, DVD one-half of Napalm Death's Scum 20 year anniversary reissue.
  38. ^ a b "Crustgrind", "Grindcore Special" part 2, p. 46
  39. ^ Glasper 2009, p. 12
  40. ^ a b c Glasper 2009, p. xiv
  41. ^ Mudrian 2004, page 35.
  42. ^ Blush 1991, page 36
  43. ^ Blush 1991, folio 35
  44. ^ Pearson, Digby (26 April 2007). "Godflesh/PSI etc – are they Grind?". Enquire earache – BraveWords.com. Retrieved xv June 2008.
  45. ^ Glasper 2009, p. 22
  46. ^ James Hoare, Terrorizer, #180, February 2009, p. i.
  47. ^ a b c d Felix von Havoc, Maximum Rock'n'Roll #198. "Archived copy". Archived from the original on v June 2008. Retrieved 20 June 2008. {{cite web}}: CS1 maint: archived copy every bit title (link) Archived by Havoc Records. Admission engagement: 20 June 2008.
  48. ^ Glasper 2009, p. 273
  49. ^ Dean Jones, quoted in Glasper 2009, p. 273
  50. ^ a b Glasper 2009, p. 275
  51. ^ Glasper 2009, p. 277
  52. ^ Mudrian 2004, p. 132
  53. ^ Glasper 2009, p. 237
  54. ^ Glasper 2009, p. 238
  55. ^ Glasper 2009, p. 502
  56. ^ "It's Official: Carnivorous CORPSE Are The Top-Selling Decease Metal Band Of The SoundScan Era". Roadrunnerrecords.com. 17 November 2003. Archived from the original on two June 2008. Retrieved iii May 2008.
  57. ^ "Billboard 200: Week of September 23, 1995". Rovi Corporation. Retrieved 27 March 2011.
  58. ^ "Search Results for Mortal Kombat". Recording Industry Association of America. Retrieved 12 April 2017.
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References [edit]

  • Appleford, Steve (1998). "The family unit that plays together". Guitar. 15 (12): forty–42, 45–46, 49–50, 53–54, 57.
  • Blush, Steven (1991). "Grindcore". Spin. seven (3): 35–36.
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  • Ekeroth, Daniel (2008). Swedish Death Metal. Bazillion Points Books. ISBN 978-0-9796163-1-0
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  • Mudrian, Albert (2004). Choosing Expiry: The Improbable History of Decease Metal and Grindcore. Los Angeles, CA: Feral House.
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Source: https://en.wikipedia.org/wiki/Grindcore

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