#Genre: Goregrind/Grindcore

[k-i-l-l-e-r-b-e-e-6-9]

#Carcass #Symphonies era #Genre: Goregrind/Grindcore #Symphonies of Sickness era #Symphonies of Sickness #Release date: November 4th 1989 #Jeff Walker #Ken Owen #Bill Steer #Themes: Death Gore Pathology Medical Humour Politics Society #UK

[incorrigibledecomposition]

band recommendations from a black punk !!

tl has been discussing poc in alternative scenes specifically punk scenes recently. punk has been a big spintrest for me for a while so id thought id share some bands with poc members that deserve love!!

im more into hxc punk so most of these bands will be hxc subgenres. i will be adding genre’s and country of orgin!! not adding any links for now, look out for any edits.

hong kong fuck you , grindviolence from tijuana, mexico. a project of christian hell, has latino and black members

zulu , powerviolence from los angeles, california, usa. originally a solo project of anaiah lei, all members are black

zyanose , noisy hardcore punk from osaka prefecture, japan. all members are japanese

g.i.s.m. , hardcore punk / heavy metal band from tokyo, japan. all members are japanese

limp wrist , queer hardcore punk from albany, new york, usa. martin sorrondeguy is latino (also apart of los crudos)

los crudos , hardcore punk band from chicago, illinois, usa. all members are latino

despise you , powerviolence band from californa, usa. some if not all members are latino

bad brains , hardcore punk band from washington, d.c, usa. all members are black (probably the most well known band on this list)

gorepot , stoner brutal / slam death metal / grindcore band from taiwan. solo project. their genre is complicated and they aren’t exactly punk but they deserve some love

sebum excess production , deathgrind band from from brazil. solo project (?)

c.a.r.ne , pornogrind band from mexico city, mexico. all members are latino

bodily stew , goregrind band from california, usa. ive heard that eddie and david are latino but i may be wrong

mxmxm , mincegore band from coachella, california, usa. might be a solo project but but ive heard they are latino

chulo , grindviolence band from bogatá, colombia. all members are latino

soul glo , hardcore punk band from philadelphia, pennsylvania, usa. 2 of the current members are black

taqbir , post-punk band. moroccan but based somewhere in europe. all members of the band are anonymous (?)

ill be adding onto this list as i go (im a little tired now) but please recommend bands for this list!!

#poc punk #punk #hxc #hxc punk #grindcore #powerviolence #goregrind #deathgrind #music reccomendations #jojotism #jojo.txt

[idiotcoward]

Metrorrhagia - Metrorrhagia

Continuing on from Phyllomedusa is another fucking terrific recent gorenoise project with Metrorrhagia. This album feels much more within the genre of grindcore then Phyllomedusa with its gruesome aesthetic and creepy samples over harsh guitars and drumming that seems to drown you in a flurry of punches. Fucking rips as a whole and is a good way to start getting into the more experimental aspects of goregrind if you’re a Carcass / Regurgitate / Last Days of Humanity enjoyer

#metal #brutal death metal #goregrind #grindcore #now listening #album recs #cw: gore #gorenoise #noise music #Metrorrhagia

[retrodoggy]

hello all! intro post

my name is ezza but ezzy works fine too ^^ i use she/her/hers and it/its/itself pronouns :) i'm an autistic lesbian! with crippling social anxiety. my special interest is silent hill, specifically silent hill 3! i'm a pc gamer mostly. i play valorant, overwatch 2, cs2, dead by daylight, tf2, l4d2, l4d1, resident evil and of course silent hill! i listen to all genres of music but my favorite genre is everything metal! black metal, goregrind, slam, grindcore, nu-metal, noisecore, heavy metal, dsbm... you name it!

my socials: discord: ezzybewi spotify: ezza pinterest: ezzarhee ao3: widowghost

if you wanna shoot me a dm, feel free!! or if u wanna be mutuals, just ask :)

#silent hill #silent hill 3 #silent hill 2 #autism #autistic girl #metal #valorant #overwatch #lesbian #lgbtq community #intro post #introduction

[sendmyresignation]

btw melodic death metal recs please please please (you dont have to, or if you dont have any in mind thats ok! i just read the phrase 'melodic death metal' and nearly blacked out from excitement)

omg no its okay i'd love to give some recs!

first i'll give a little background. so melodic death metal (henceforth referred to as melodeath) is basically a stylistic offshoot of death metal that incorporates aspects of traditional heavy metal/nwobhm (esp Maiden, see Arch Enemy's Aces High cover) for more harmonized guitar riffs, melody, and higher/more discernable growls. Generally, then its pretty accessible, I know a lot of people who got into metal thru melodeath. It was not created by Carcass but their album heartwork was the first real major melodeath release. from their the sound was popularized in Sweden (its why you'll sometimes hear it referred to as the "Gothenburg sound"). Melodeath was also really important in the development of most of the mid-2000s genres that orbit My Chem, the Taste of Chaos and "screamo" sides particularly- i think most people into that era will enjoy melodeath.

So, here's a good beginners list of melodeath albums: - Carcass Heartwork (1993) Carcass started out as a pretty gross pioneer of grindcore/goregrind but switched gears after two albums. really interesting band that managed to be at the forefront of two very different death metal sub-genres. - At the Gate's Slaughter of Soul (1995), which I mentioned in the primer + were an incredibly important influence on modern melodic metalcore (killswitch engage, poison the well, as i lay dying) - Dark Tranquility The Gallery (1995) this miiiight be my favorite album here, its probably the most emotionally compelling melodeath release (lethe is so beautiful...) and i would easily rec this to a my chem fan - In Flames The Jester Race (1996) i don't listen to in flames lmao but they're one of the big three so. here they are - The Edge of Sanity Crimson (1996) probably the most experimental/lesser-known here but easily one of the genres highlights if you find you really like the style - Archy Enemy Wages of Sin (2001) another band mentioned in the primer but deserved a shout-out as one of my favs - The Black Dahlia Murder Nocturnal (2007) TBDM is easily the best of the mid-2000s melodeathy core bands - Amorphis Halo (2022) older band but i did want to include at least one good recent release

anyway, hopefully this is a good place for you to start and that melodeath lives up to your excitement !!

#melodeath isnt my personal strong suit but these are all classics and most melodeath is the same 5 bands so. #once you have these you have some heafty discogs to explore if you so choose #my posts #igottheanswer #anon

[forbidding-souda]

mod souda what type of metal music do you like and dislike (and if you want, can you give some recommendations pls)

Okay so I heavily dislike metalcore that shit is ass and embarrassing. I dislike classic thrash except slayer... so good, one of my favorites. Thrash I have a weird relationship with because some bands are good but the bands that aren't good are absolute shit (megadeth).

Glam metal is underrated and I think if you hate it [for existing] you're an elitist lmfao.

My favorite is death metal, and specifically microgenre goregrind. Grindcore has been growing on me as of recent, too, but by a littttllleee (as in, grindcore live ROCKSSS it goes so hard. listening to it anywhere else, ehhhh).

I'm not into alternative metal. Nu metal is fine, though, hit or miss (mostly misses).

Oh and I don't like black metal at all but... sub genre dsbm.... I love it so much and for what.. why is it so good.

(yes i'm counting hc/c as a metal genre, stay mad!)

My fav metal songs are:

Goregrind: Jack herer, you and me by onisirige | koky is back by gutalax (sorry) | swallowing the seeds of elderly deer by gutalax | paranormal evisceration by guttural slug | necrophilaxe by amoebic dysentery | I, the ecclesiarch by rendered helpless | r*ped on the dancefloor by dehydrated goat |

Thrash: babylon by soulfly | street freaks by blessed curse | rolling thunder by sodom | surfin bird by sodom | take control by slayer | captor of sin by slayer | raining blood by slayer | 213 by slayer | napalm in the morning by sodom | little boy by sodom |

Death Metal: vaginal evisceration by putrid womb | necropedophile by cannibal corpse | grotesque impalement by dying fetus | skull fucked by dying fetus | killing on adrenaline by dying fetus | kill or become by cannibal corpse | forced gender reassignment by cattle decapitation | the spine splitter by cannibal corpse | be still our bleeding hearts by cattle decapitation | bring back the plague by cattle decapitation |

Melodic Death Metal: fuck the world by short fuse

Psychedelic Metal: car bomb by witch melter | these edibles ain't shit by witch melter | human zoo by witch melter

Hardcore / Crossover: girl in the mullet wig by glass street | like a punk rock randy newman by glass street

Extreme Metal: musette maximum by igorrr | camel dancefloor by igorrr

Depressive Suicidal Black Metal: sömnlösa nätter by apati

Heavy Metal: evil woman by black sabbath

yeah i love metal talk anyway people send more asks about metal it adds to my horror special interest

#metal #music recommendation #music reccs #music talk #recommending some of my friends bands teehee gotta sneak them in

[5fdeathp]

GRINDCORE -GENREIC GENDERS ☆

grindcoregenreic - grindcore + genreic

gorepornogrindgenreic - goregrind + pornogrind + genreic

necrogrindgenreic - necrogrind + genreic

genders pertaining to the grindcore, goregrind/pornogrind, and necrogrind subgenres respectively.

colors are based from what i see when i listen to each of the genres!

if something similar to this has been coined before, please let me know.

requested by no one.

#label collection #celestine coins #coining blog #mogai #mogai coining #mogai positivity #my flags #transgender #mogai safe #mogai community #mogai identity #xenogender coining #xenogender pride #xenogender #genreic #genregender #musicagender #the autism won.

[slutdge]

what's some of your favorite grindcore?

(Including related genres like goregrind and deathgrind and all that) Fuck The Facts, Repulsion, Dead Infection, Last Days of Humanity, Couple Skate, Unholy Grave, GO-ZEN, Wormrot, Metrorrhagia, Bloat, Meat Shits, Scour, Stoma, Cattle Decapitation, Super Fun Happy Slide, Horrible Earth, Phyllomedusa and Resistant Culture are all faves :-)

#asks

[hierarchyproblem]

The etymology of the grindcore subgenre mincecore is really interesting to me. So mincecore has a slower tempo than most grindcore, right, and if you mince something it's gonna have a larger particulate size than if you grind it (eg. garlic vs pepper), so that makes intuitive sense. But you might also mince meat, so it's also a reclaimation of the goregrind that was on the rise in the late 80s when mincecore was coined.

Say you're Agathocles, right (the first band to play in the mincecore style, not the tyrant of Syracuse), and you're watching grindcore move away from its origins in British anarchopunk and US hardcore (and the overtly political lyrical themes of those genres) as goregrind becomes more popular (with exactly the lyrical themes the name implies) at the same time as you're seeing machismo take over the scene, reintroducing cultural elements of misogyny and homophobia which — well, they might not have previously been totally absent, but they'd've at least been frowned upon.

So not only did the band specifically criticise this subcultural shift in their music itself, they gave the genre they founded a name that pays homage to effeminacy and camp:

Ain't that clever? Wordplay and shit! (I include the screenshot to demonstrate the revealing example-case provided by the Cambridge dictionary.) It'd probably be a stretch to say that the bouncy drumbeats found in mincecore songs is deliberately gesturing at this too, but it's a an association I can't help making.

Anyway Agathocles are still going, along with many excellent imitators such as Archagathus, Rot, and Haggus. And check out Rancid Stench:

#uhh that album cover probably deserves a #tw gore #tw death #or something for the sake of courtesy

[vomitedanaltractmoved]

is your url a reference to the music genre or is it just a mesh of the words vomit and noise

yeah it's a very very small subgenre of gorenoise (subgenre of goregrind) (subgenre of grindcore)

#qna #anon

[k-i-l-l-e-r-b-e-e-6-9]

Carcass - Fermenting Innards

#Carcass #Reek of Putrefaction #Fermenting Innards #Release date: June 1988 #Full-length #Genre: Goregrind/Grindcore #Lyrical themes: Death Gore Pathology Medical Humour Politics Society #UK

[kiltonfernandes]

Resenha: Carcass - Torn Arteries

Since Black Sabbath laid the foundations of the genre forty years ago, a plethora of bands and sub-genres emerged that have been solidifying heavy metal as one of the most imposing buildings in contemporary music. However, from this myriad of bands, only a handful manage to make a lasting impression, either for their artistic relevance or commercial success. British pathologists Carcass are part of this narrow niche for the former reason. Not only were they one of the pioneers of the grindcore genre alongside their fellow countrymen Napalm Death (coining the term goregrind in the process), but they also subsequently played a key role in the emergence of melodic death metal in the mid-nineties through their 1993 release - Heartwork. Personally, despite loving both sides of the band, I've always felt more drawn to their heavier stuff, namely Symphonies of Sickness and Necroticism: Descanting the Insalubrious, two iconic releases within the genre.

Personal tastes aside, it is indisputable that Carcass will go down in history as one of the most influential extreme metal collectives of the 20th century, on par with legends like Death, Morbid Angel or Bathory, just to name a few; being equally undeniable that the reason behind their success story was the strong chemistry between the clinical trio Jeff Walker, Ken Owen, and former Napalm Death Bill Steer, with the latter being responsible for some of extreme metal's most iconic post-mortem riffs. Without belittling Michael Amott, who would prove to be instrumental in the band's turn towards more melodic territories, the synergy present in the original triumvirate has always been the gravitational center of Carcass' music between 1986 and 1996, and its driving force; and were it not for Ken's cerebral hemorrhage in 1999 (which left him in a coma for several months, subsequently making it impossible for him to play drums at the highest level), the trio would still be intact on 2013's long-awaited return to the operating table - Surgical Steel.

Keeping the same backbone, which includes drummer Daniel Wilding, but recording as a quartet with the addition of guitarist Tom Draper, Carcass are back in business under an album title taken from an eighties Ken Owen demo - Torn Arteries. Originally slated to come out in 2020, being postponed due to the pandemic, the lads' seventh full-length release promises to be polarizing both aesthetically and musically. Something that is hardly new in the band's stylistic journey as they have never released the same album twice, each one being a product of its time (for better or worse). But in this particular case, the unexpected yet unintentional vegan artwork coupled with a rather different musical direction from Surgical Steel is sure to spark a perfect storm among the hardcore fanbase, a bit like Swansong in the nineties. It took me a couple of extra spins myself to digest Torn Arteries accordingly; not because of its complexity or originality, but for being different from what I expected. Songs like 'The Devil Rides Out', 'Flesh Ripping Torment Limited' or even 'In God We Trust' step out of the band's template, or at least deviate from the formula I would expect to hear. And I loved it. I admire an artist who doesn't play it safe, who isn't afraid to explore new territory instead of going around in circles, like most veteran heavy metal bands. The Gojira-esque groovy moments on 'In God We Trust' and 'Flesh Ripping Torment Limited' or the latter's ballad-ish solo, which wouldn't seem out of place on a Thin Lizzy album, are something of a breath of fresh air; as is the super catchy 'The Devil Rides Out' which, in addition to presenting a remarkable fluidity, features the most inspired guitars on the album.

These elements of surprise caught me off guard. I was expecting ‘Surgical Steel 2.0’ or something like that; but instead, the British pathologists decided to shift down a gear and deliver a more mature work, much like a team of experienced surgeons. The title track, 'Eleanor Rigor Mortis', and 'Dance of IXTAB' mirror some of that creative maturity, as opposed to the old acquaintance 'Under the Scalpel Blade' or 'Kelly's Meat Emporium' which are closer to Carcass’ trademark sound. However, despite this apparent dichotomy, the band's DNA is omnipresent, whether in the groove that sprouts everywhere or in the blasty segments that evoke the band's most irreverent era.

#Spotify #Youtube

[eyecide]

Funnies ever music genres

Speed metal

Grindcore

Sludge metal

Goregrind

Bent edge

Coldwave

Grebo

Nardcore

#to be continued

[an-organized-confusion]

On topic of music, metal, and the Sides.

I could see the Creativitwins have an appreciation for that super genre - I mean hell, Tenacious D was in their playlists.

I figure tho - they do have different tastes within it.

I think Roman would also dig the likes of Dragonforce and The Darkness (power/speed/glam metal would so work for him ) and Remus would be a Nekrogoblikon and Dethklok fan (I think his taste could be more broad, include that kinda stuff but also, not exclusively: metalcore, nu metal, grindcore, goregrind, thrash, death, and black metal).

Now I’m not super into Dragonforce... and this is the only thing with that tag on my music blog, and I feel like ridiculous shitpost tier mash-ups would be in Remus’s wheelhouse. (Lowkey I absolutely LOVE mash-ups, as a genre.)

(Now I just had the image of them being Dethklok fans - like that time I drew Mabel and Pacifica being Gears... pffft.... okay I really need to hit the sack now...)

#sanders sides #roman sanders #remus sanders #(mod post) #web series #music #(not queued)

[forbidding-souda]

I need a mod souda metal genres analysis and ranking video lmao

No literally. Let me procastinate doing work and type one out rn bet.

Death metal

Depressive suicidal black metal

Goregrind

Slam

Thrashcore

Grindcore

Glam metal

Groove metal

Thrash

Black metal

Nu metal

Alternative metal

Heavy metal

Sludge

Speed metal

Deathcore

a bunch of deathcore fans will always message me bc i'm a metalhead i'm like get away from me.

even tho i am the genre connoisseur i always mistake some slam bands for goregrind so some reason so i need to go back on that band recc thing i did and add a slam category bc i just relistened to the gutteral slug album or whoever and i was like wait that's not right. not really at least. they might be a track mixer.

Uhhmm groove metal isn't that bad and neither is glam. Speed metal is kinda embarrassing tbh. Alternative metal is also embarrassing. so mid.

I'm not actually adding it bc I only listen to like a few bands bc it's my friends band and then the band my friend plays when i chill but mathcore would go at like a 14.

death metal is like long lasting like it's ever evolving and there's so much creative liberties that can go with it and shit.

#metal #music talk #not an imagine

[happymetalgirl]

Cattle Decapitation - Death Atlas

No vocalist this decade has been more innovative for extreme metal as Travis Ryan has with his diversity of snarls, growls, and screams stretching into uncharted melodic territory on the past few Cattle Decapitation albums, and no other band has been more vital and consistently creative for deathgrind as Cattle Decapitation has been for a long time now. The band have always taken a particularly uncomfortably gnarly and confrontational approach to the dicey topics of human mistreatment of animals in the food industry and the many despicable facets of species exceptionalism that humankind has operated under since the advent of mass industrialization, and their gratuitously grotesque and brutal musical and lyrical approach to such disgusting topics honestly couldn’t be more fitting for each other. I just recently picked up a physical copy of the band’s third LP, Humanure, and, looking at the lyrics, holy shit do they fit all too disgustingly well with the now-iconic cover art.

As the band’s sound has become grander since then, more stylistically unique, more polished, yet no less brutal than the goregrind on which they built their foundations, Cattle Decapitation have shifted their lyrical focus to the grander scope of self-driven environmental catastrophe and the worst case scenario of human extinction as a result of humankind’s own ecological carelessness. The band took a tremendous leap forward from the already tight and deathly goregrind of The Harvest Floor on 2012’s Monolith of Inhumanity, with Travis Ryan’s expansion of his harsh melodic range being a huge factor in that growth. But the rest of the band grew tighter and more capable of dishing out extremely intricate and technical agression at frightening speeds, and both Monolith of Inhumanity and the band’s 2015 follow-up, The Anthropocene Extinction, showed just how unbelievably versatile Cattle Decapitation could be with this style of music. I don’t want to get too hung up on reminiscing on the quality of old work with more of that quality packed into the band’s longest album to date to discuss at hand, but I don’t want to simply brush over and understate how immense the band’s past two albums have been for them and for extreme metal in general.

With Monolith of Inhumanity, Cattle Decapitation put on an absolutely baffling exhibition of a wide array of compositional protocols and instrumental and vocal techniques that broadened not only their horizons, but the horizons of deathgrind as a genre, of melody without compromising on brutality, especially on the vocal front. The band took their sickening brand of goregrind to its classically brutal extreme on the increasingly slow churn of “Forced Gender Reassignment” and the nasty grinding of “Projectile Ovulation”, but the band really pushed the boundaries of melodic terror on the vocal front on songs like “A Living, Breathing Piece of Defecating Meat”, “Your Disposal”, and “Kingdom of Tyrants”. The song with which the band really shattered the genre’s ceiling on melody was the strangely, astonishingly beautiful “Lifestalker”, on which Travis Ryan harnesses his filthy blackened snarl into a melody so emotive it’s hard to believe a band so focused on powerfully merciless brutality penned it. The album was a huge progression for Cattle Decapitation and for deathgrind, undoubtedly my favorite of the genre.

The band sought to refine their frenzied and newly dynamic grind on The Anthropocene Extinction with generally longer and more grandiose compositions like the monumental “Manufactured Extinct” and the gloriously grinding “Plagueborne” and “Pacific Grim”, while staying true to their gory roots all throughout and making sure to deliver more directly deadly blackened grinders like “The Prophets of Loss” and “Mutual Assured Destruction”. And the band did indeed give their already impressive and elevated sound an even more magnificent and grandious edge that generally isn’t associated with Cattle Decapitation or grindcore. As its title suggests, The Anthropocene Extinction marked an increase in the band’s urgency about the consequences of humanity’s careless abuse of resources and destruction of crucial ecosystems through industrial overconsumption. The band on their most recent past album sounded at least panicked and eager to call for whatever possible to mitigate the disastrous effects of humankind’s mistakes. Four years later, however, Cattle Decapitation are far less optimistic about the outcome of mankind’s abuse of its planetary home and certainly not any more sympathetic towards our species’ continued heedlessness in the face of scientific consensus on the forthcoming destruction and collapse of civilization as we know it.

As grim and forthrightly convicting as Cattle Decapitation have been in the past about how much needs to change to avoid disaster, the band sound more pessimistic than ever on Death Atlas, forecasting more than forewarning of the impending deathly consequences of our species’ prolonged malignant negligence. They play with a distinguishable air of numbness to sorrow as though the long foreseen end has already begun and that humanity is too late. Travis Ryan dips into melodic harshness more on this album than he did on even Monolith of Inhumanity, offering up eulogy after merciless eulogy for a dying species and a slowly (but not so slowly) burning world.

Indeed, Travis Ryan meditates harshly on the inevitability of the universe’s snuffing out of life grown out of control on the blackened melodic doomsday prophetics of  “The Geocide” on which he ominously sings “The universe it always find a way to purge / the sustainably inappropriate numbers that once surged”, and he is even more hopeless on the following track, “Be Still Our Bleeding Hearts”, which he opens with the line, “Every new life is a tragedy in waiting” and on which he breaks out another nastily sung/snarled melodic chorus of apocalyptic embrace over blackened deathgrind that reaches for the upper echelons of the band’s widely encompassing sound. Ryan had stated before the album’s release in a promotional interview that he wasn’t going to focus so much on overpopulation as much on this album being that he has said his piece thoroughly on albums past and that the valid ecological problem is being misdirected by modern eugenicists, yet here he calls (probably in defeated exaggeration) for mass human death, stating “Every new death is a step toward preservation”. He once again concludes in dismal defeat that “Human life is simply not sustainable”.

Ryan continues on his frustrated raging over humanity’s exponentiating population on the following song, “Vulturous”, on which it becomes clearer that he is not taking the warped, racist approach to this topic and is rather eulogizing the willful and self-inflicted destruction of so-called advanced cultures by their short-sighted capitalist urges, as evidenced by the lines “A horrible ghastly proclamation / That profits dominate what’s right” and the painfully and intentionally ironic “Living for ourselves / Anything at any time / as of tomorrow we will die”. Clearly these lines are not pinning the blame for catastrophic climate change on the usual, lower-consuming scapegoats of fascist eugenics, but rather the capitalism that exploits them and those doing the scapegoating and those who keep it in place because they have something to gain from it. Musically, the track is one of the more demonically sinister cuts on the album, with Ryan giving a particularly eerie, menacing, death-summoning vocal performance.

Indeed, while I am talking a lot about Travis Ryan’s lyrical contributions and one-of-a-kind vocal performances, I would hate to overlook the solid and vibrant instrumental foundation the rest of the band continue to provide him and Cattle Decapitation. Longtime drummer David McGraw’s jaw-droppingly lightning-injected performances continue to shine as one of the band’s major instrumental attractions as he absolutely punishes his kit at ungodly speeds with awe-inspiring technicality. Similarly fast-paced and technical strong-work continues to flow like a gushing torrent of hail from storied lead guitarist Josh Elmore and newly arrived rhythm guitar supporter Belisario Dimuzio, who together drive the album’s (and the band’s) likely under-appreciated emotional dynamic through their interplay between colossal eruptions of infernal guitar distortion and ashen atmospheric dissonance with cleaner tones when the time is right. And new bassist Olivier Pinard provides the essential foundational accents to meticulously track and support the maddeningly technical rhythms above him in the mix, and even surging up to the forefront of the mix when the rest of the band is at a lower instance of acceleration to provide his own moments of spotlighted technical brilliance as well. Together the band have continued to hone the already highly perfected form of epic deathgrind that they and no one else can channel.

Backed by particularly vicious grinding instrumentation, Travis Ryan continues to count down to calamity on “One Day Closer to the End of the World”, at first seemingly welcoming with open arms “the end of all life of this fucking planet” in a storm of hardcore-influenced guitar work, but clearly lamenting, as the song progresses, mankind’s seeming “Lust for dying” and the terrible, suffering-filled end it has set up for itself, as he closes the thundering instrumental chaos by characterizing humanity as “Out of breath, out of time - a species out of its mind”. This bend toward self-destruction is further examined throughout the more direct, technical blackened death metal of “Absolute Destitute”, which is mostly spare of the previous tracks’ melodic niceties and summed up nicely and poetically by the lines “A life in love with despair / in a world beyond repair / A global consensus that the powers that be are against us”, and Ryan essentially calls time on humanity’s soured reign over planet Earth on the fittingly apocalyptic-sounding melodic vocal and guitar dissonance and rhythmic crashing of “Time’s Cruel Curtain”, whose tragically cathartic and enigmatically beautiful sonic hideousness as a result of is truly a tough thing to describe, probably best likened to a fire-scarred martyr desperately sacrificing themselves one last time to no avail.

Travis Ryan shifts his mournful tone to a more critical one on the ruthlessly rapid-fire “Finish Them” as he concludes that “Now we see that the true evil has a face / Now we know the devil is the human race” as David McGraw’s dynamic playing shines at the track’s particularly fast pace, and Ryan subsequently imparts, furthermore, a stern warning to the opulent elites that those whose world they’ve ruined will be coming for their hides on the similarly high-octane percussive hurricane and roller coaster riff-fest of “With All Disrespect”.

Ryan does return to his more usual classically colorful beckoning of death on the surprisingly infectiously hook-laced, old-school (for the band), and darkly comedic “Bring Back the Plague”, which is an exaggerated call at wits end for exactly what the title implies, but musically one of the band’s most unique songs and a certain standout on an album filled with impressive tracks.

The band also includes a few shorter interludes to break up the relentless deathgrind, “The Great Dying”, “The Great Dying II”, and “The Unerasable Past”, which are strung with excerpts detailing the sequences of events that have led to humanity’s current predicament, including “55 Languages of Planet Earth” from NASA’s Voyager Space Probe on the intro track, “Anthropogenic: End Transmission”.

On the titular closing track, Travis Ryan offers his last sorrowless dirge for humanity as he screams “We deserve everything that’s coming” across the epic nine-minute firestorm of crunchy guitar riffage, furiously firing double-bass, and biblically monolithic death howls that wrap the album up in cinematically grand fashion without sacrificing any of the brutality of the band’s grind. And while the song’s second half isn’t quite the dizzying crush the first half is, the gradual fade out into an operatic lamentation for a biosphere’s graceless end is a fitting one for the image of the Earth humanity’s last days careening away into the void of space in abject meaninglessness to the rest of the universe and whatever may fill humankind’s empty place at square one of rebuilding a new civilization.

Given how greatly I still admire Monolith of Inhumanity and the Anthropocene Extinction obviously my expectations for death Atlas were pretty high. Yet Cattle decapitation still managed to surprise and around me with melodicism greater than even that which characterized Monolith of Inhumanity, incredibly surprisingly infectious hooks, and gripping, terrifyingly bleak prophetic lyricism amid consistently thrilling instrumental performances that continue to prove what a tremendous force to be reckoned with and what an important band Cattle Decapitation is and has been. While Cattle Decapitation are far from the only band addressing the huge, overbearing impending doom of environmental Armageddon, and while the novelty of the melodicism of the band’s terrifying assault and nauseating goring has worn off since Monolith of Inhumanity, Cattle Decapitation has expanded it to further elevate the grandiosity they cultivated on The Anthropocene Extinction to produce a swan song for the planet unlike any other. Truly, there are few bands more important today for metal than Cattle Decapitation is, and there is no situation more dire than humanity’s arrogant and self-assured loitering on the brink of civilizational downfall. And while a deathgrind album probably isn’t the kind of art piece that will pull humankind back from the edge, the uncompromisingly ugly and truly hellish portrayal of the world’s collapse on it makes Death Atlas the album the world needs and humanity deserves for its compounded failures. And I also suppose it’s quite fitting that the band releases this album on America’s frustratingly ironically times national holiday of celebrating capitalist consumerism after a day of supposed giving thanks whose tradition is warped to hide its ugly genocidal historical origin. Undoubtedly one of the most crucial albums of its time, one of the year’s, one of the decade’s, and Cattle Decapitation’s best.

And I count the days ‘til we expire for always/10

#Cattle Decapitation #Death Atlas #deathgrind #death metal #technical death metal #grindcore #metal #heavy metal #new album #new music #album review #great music #great album #Monilith of Inhumanity #The Anthropocene Extinction #climate change #global warming #capitalism