Unrest are from the US and play Grindcore, as you can probably tell. In fact, what do you do with an album titled Grindcore? Well, I’ll tell you what you do; you play it really damn loud.
Unrest appear to exist purely to play tribute to Nasum. In theory, this could end very badly indeed as Nasum are just sooooo good. However, in an unexpected twist of fate, Unrest manage to pull off quite the paradox by faithfully reproducing Nasum’s sound without sounding like a cheap knock off. Colour me impressed!
So, if you know what Nasum sounds like you know what Grindcore sounds like, and you can take that sentence in multiple ways really. Unrest’s Grindcore is tight, focused and furiously aggressive modern Grind that chokes the listener with almost 27 minutes of sharp, tasty Grindcore treats.
Like their heroes, Unrest know that Grind isn’t just about the blasting; dynamics, groove, feeling…these things are all important ingredients in the perfect Grind cake. Of course, this album isn’t perfect, but it is better than most.
Featuring some actual songs amidst the carnage and enough cutting riffs to maim the unwary, Grindcore delivers the goods time and time again.
This is a split between French Grindcore bands Miserable Failure and Atara.
Atara are up first and they give us 6 tracks of Punk and groove influenced Grind.
These are enjoyable short, sharp adrenaline shots of modern Grind with Punk attitude and a touch of Nasum added in.
The singer is particularly acerbic and he heads the tracks here like the focal point of devastation.
Scathing vocals and a rounded, heavy sound that’s not overproduced means that the band shine filthily and so do the songs. Top work by Atara.
We’ve met Miserable Failure before with their last EP Hope. They continue to impress here with 8 tracks of furious Grind that mix the best of the extreme nature of Grindcore with the violence of modern Hardcore.
The utterly demented vocals are present and the music sounds just as unhinged. Slabs of distortion that pass themselves off as riffs crash into your skull and before you know it you’re left wondering what the hell just happened. And then, without warning, Miserable Failure loom in suddenly for the killing blow.
There’s no reason at all you shouldn’t get this. None whatsoever.
This is professionally-recorded and nicely heavy. The songs are short and the anger high. The vocalist sounds like she is possessed by demons, (yes, plural), and is a whirlwind force of nature stalking these songs and shortening their natural lifespan by her presence alone. It’s an impressive performance.
The songs are hardcore-influenced Grindcore with lots to keep the attention with. None of the tracks reach over the 2:00 minute mark but that just means that every spare second is used for something useful rather than just filling space.
I love this kind of grind; modern and brutal but still with a firm emotional core and lyrics that have meaning rather than just being a pointless gore-fest, (which can also be fun of course).
Cross a band like Nasum with the scathing feral hardcore of Converge and Transient will be the product. This is a top quality Grind album and should be on the want list of every fan of this genre.
Dead In The Dirt play Grindcore and do it from the US.
The band throw out highly aggressive Grind with short songs and even shorter tempers.
With a solid sound that’s so sharp you could do someone an injury, the songs blast out of the speakers covered in bile and thoughts of execution.
I do so love this kind of Grind! Heavy and fast at the same time; taking the blueprint and class of a band like Nasum and mixing it with bits of Sludge, Crust, Brutal Truth and Converge.
Take any selection of songs on the album and you’ll find a fair degree of variety. Sometimes it sounds like Eyehategod mixed with Deathgrind, (Strength Through Restraint), next it sounds like Uphill Battle if they totally gave in to their Grind influences, (Idiot Bliss), and then it sounds like a Hardcore Crust Brutal Truth, (You Bury Me).
Amazingly the band manage to perfect the balancing of frenetic, ultra-intense speed with heaviness and brutality in a way that most bands fumble, but Dead In The Dirt manage to make seem easy and the most natural thing in the world.
Hailing from the US, The Drip play Grind, fast and brutal.
This EP is 12 minutes, 6 tracks of mutilating Grindcore. The band worship at the altar of Grind legends Nasum and Rotten Sound, and are just as tight and focused.
The songs are streamlined and belligerent, with a good grasp of Nasum-esque dynamics.
The vocals are mainly high-pitched screeches designed to curdle milk and other such meanness. They sound savage and layer the top of the music like broken glass.
The production is clear enough to hear everything but also dirty enough to avoid the band becoming sterile or safe. A band with bite.
Each song is a self-contained furnace of energy and destruction, with nothing being held back. The band manage to give off a very complete feeling of listening to both state-of-the-art Grind but also one that’s aware of its heritage, going all the way back to Napalm Death when they unleashed Scum upon the world.
This is a great little collection of high octane grinders and it bodes well for a future album release. Definitely ones to watch.
Coming from the UK, Human Cull play Grindcore and Stillborn Nation is 23 tracks in 25 minutes, which should tell you something, (especially as 5 minutes of the playing time is taken up with final track Echoing Silence).
This is ultra-brutal Grind with short songs and maximum aggression. The vast majority of the tracks are on, around or under the 1:00 mark so the entire album is essentially short episodes of shocking violence and mayhem.
But is it any good? Why, yes! Primitive riffs that don’t last for long tear out over rigorous drums and stringy bass. The band’s sound is rough and ready and perfect for the delivery. Each song wants to rip your face off and stomp on your skull.
For such short songs they do mix in a bit of variety in the sense that it’s not full on blasting all the time; a hardcore influence can be felt on occasion, as well as a debt to the more restrained and inventive, (relatively speaking), approach taken by Nasum. The tracks may be short but the songwriting doesn’t suffer due to this.
The vocals are impressively gruff and deep, accentuated with much higher screams here and there. The growling works really well for the band, with the singer having the same kind of characterful voice and delivery as the singer of The Red Chord which elevates the vocals above those of most bands of this ilk.