Putrid Offal – Premature Necropsy (split w/ Exulceration) (1991)

At its most direct and well-calibrated, grindcore is a viciously effective medium for both emotional and corporal catharsis. But, as is often the case with experiential intensity, those equally delightful and terrifying moments seldom endure and will at best leave us grappling with a sensation of unresolved clarity. Whether or not this observation resonates with the reader, it may well be applied as an analogy for the grindcore phenomenon at large. Once a fortuitous offspring of hardcore punk and primordial death metal, early grindcore managed to tap into the deeper recesses of human discontent and paranoia and somehow channel this raw force into musical form. However, it didn’t take long before this short burst of essentially intuitive creativity gave in to rationalization and before anyone had realized it: game over.

The main point in case here would be Carcass. As have been previously chronicled on these pages, early Carcass lifted grindcore out of its self-inflicted musical and ideological circumscriptions with their debut Reek of Putrefaction (1988) —somewhat ironically, given its crude nature and presentation— before embarking on a steady slope into insignificance as the band got caught up with making music to please audiences. Since then, a veritable substyle has been founded upon Carcass’ earliest works reaching up to their third LP. Not surprisingly, the artistic results have been chiefly meagre because most successors have focused on mimicking style rather than the essential qualities of the music. Consider this in parallel to the poignantly limited musical palette of grindcore and a scenario takes form where novelty rather than substance is rewarded; because in a field where everything sound practically identical on the surface, the easiest way to gain notoriety is through aesthetic manipulation. Consequently, discovering worthy material quickly turns into a struggle of Sisyphosian proportions, as it requires extensive and often in-depth digging.

Unanimously forgotten by the metal world at large, Putrid Offal’s 1991 split LP with Exulceration comes across as a seemingly indistinctive affair at first glance. However, a deeper acquaintance with the material reveals this to be one of the more rewarding non-canonical works within the genre. Putrid Offal comfortably operates within a style somewhere between the first and second Carcass album if played with the intense rigidity of an early Napalm Death. Where the band excels is in a conjoinment of Reek of Putrefaction’s playful and frequently destabilizing nature with the more cogent and death metal-oriented riff sequencing witnessed on Symphonies of Sickness (1989). Riffs strive to expand beyond the simple chromatic patterns that has become a staple among grindcore acts. This allows the band not only to apply greater textural nuance to phrases, but also an opportunity to string riffs into sequences that defy binary modes of communication. While intensity remains as main focus throughout the playing time, both structure and riffology implies an undercurrent darker than what is usually expected of such a direct form of music.

Setting aside aspirations of petty “uniqueness”, Putrid Offal ironically enough belongs to the infinitesimal cadre of bands who’ve managed to expand upon the Carcass legacy.

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Afflicted

Afflicted were a Swedish metal band from the late 80’s to the mid 90’s releasing only two albums and a handful of demos. They began as Afflicted Convulsion playing primitive yet erratic death metal/grindcore. Although the riffs on their earliest (listenable) demo, Beyond Redemption, do little to set themselves apart from their contemporaries, we are presented with nuanced compositions that keep the listener enticed through each track, presenting satisfying wholes rather than myopic moments of inspiration. As Afflicted, the band would take their compositional skills and apply them to unique riffs on their demos and first album, Prodigal Sun. (more…)

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Anal Cunt Guitarist Josh Martin Dies In Freak Escalator Accident

Anal Cunt guitarist Josh Martin, known for penning a number of outrageously offensive and theatrical songs, has passed away after falling from a mall escalator and striking his head.

Those who remember Anal Cunt for their enjoyable live shows, over-the-top lyrics, and grinding chaotic composition will find themselves familiar with Martin from his work in the composition and live performance of hits from the Anal Cunt catalogue.

He died doing what he enjoyed: “clowning around.” As news reports of his death tell us:

Josh Martin, a 45-year-old guitarist with the band Anal C**t, is said to have lost his balance, fallen backwards and hit his head on a table after losing his balance while riding the escalator.

Police told local reporters that he fell one storey from the cinema level to the food court below at Providence Place Mall shortly before 11pm on Monday evening.

A report described him as ‘clowning around and riding the rail of the escalator’ and fell off as he approached the downward part of the handrail.

Martin outlived his bandmate, vocalist Seth Putnam, by seven years after Putnam died in 2011 at age 43.

We choose to remember him through his irreverent sense of humor and his work, which ranged from musical comedy to fast, grinding sonic mayhem which introduced a new generation to grindcore. A brief career retrospective follows.

And some influences:

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Godflesh – Post Self (2018)

If someone goes on this tour, make sure to hand Justin Broadrick a telephone to signify that this album has been phoned in. As the term implies, when content creators are no longer focused on making their work significant, an “it’ll do” mentality results. This fits within what Godflesh and related Broadrick-acts have done through their careers.

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/smr/ SADISTIC METAL REVIEWS: YOUR FRIENDS ARE DEAD EDITION

You know your nation has reached peak sadism when kids are using the shooting deaths of their classmates to catapult themselves into celebrity stardom.  That means the time has come for frequent, merciless, rapid fire sadistic metal reviews.

BUCKLE UP, BECAUSE THE RIDE NEVER ENDS

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Blood – Inferno (2017)

Continuing the path of a storied band, Inferno mixes re-recorded versions of older tracks with new material in what seems to be a band redefining itself. Blood started as a grindcore band with more of a death metal attitude, then adopted an outlook closer to black metal for its opus O Agios Pethane, but since then has struggled by being caught in the middle of three genres.

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Pathologist – Putrefactive and Cadaverous Odes About Necroticism (1992)

Like thrash before it, grindcore was born out of a convergence of elements of punk and metal. Where thrash combined metal song structure and intensity with the brevity and minimalism of punk, grindcore merged the most abrasive aspects of hardcore punk with the techniques of death metal of the oldest school, arriving at an uncompromisingly direct and streamlined torrent of atavistic rage.

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