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Blast Worship: HONG KONG FUCK YOU

Where they from?
Tijuana, Mexico. I went to college in Long Beach for a few years and one time one of my friends asked me if I wanted to go to Tijuana for the weekend and I said “no.” I kind of have regretted it ever since but he did end up getting herpes on that trip, so I guess we can call it a draw.

Why the hype?
I have seriously loved this band for almost a year now and despite having covered them in last year’s “powerviolence round up” edition of Blast Worship, I truly felt that they deserved a write-up exclusively dedicated to them and them only. It’s one thing to have a unique setup for your band, in this case being that they have three bass players and no guitarists, but it’s another thing entirely to capitalize on such a setup and make music that has such an incredibly unique vibe that still manages to scratch that fastcore itch.

Every musical element of this band is perfect: the molten lava bass tone, the kinetic drumming and especially the vocals, which for me carry the entire thing with it’s raw brutality that avoids cartoonishness in favor of sounding like the dude from Tragedy coming down off of a robotrip. All of which is coated heavily in a thick molasses of a truly punk-as-fuck attitude. Listening to this music I get the impression that the people in this band aren’t making music for people to enjoy as much as they are just trying to piss people off, which ironically is very enjoyable.

Latest Release?
FUCK YOU. JUST DIE. The band already proved their mastery around the fastcore formula with last year’s wonderfully titled NOW THAT’S WHAT I CALL HONG KONG FUCK YOU’S GREATEST HITS VOL. 69 (which features probably my favorite pogo beat of all time on ‘GIVE ME THE KEYS’) but on their latest EP they have demonstrated that they are also comfortable delving into subterranean sludge territory such as on the ending of album closer ‘PIG HALO.’ Seriously it approaches like early Floor levels. This is the kind of sludge the dudes in Weekend Nachos only dream of. I cannot recommend this band enough.

FUCK YOU. JUST DIE. by HONG KONG FUCK YOU

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Nasum Reunion Performance DVD Coming in December

If you were to ask any grindcore aficionado for their top five list of all time grindcore bands, it’s a pretty safe bet that Sweden’s Nasum would be one of the few bands to appear on virtually every list. During the late ’90s and into the early parts of the 20th century, the Orebro-based band both revolutionized grindcore while simultaneously becoming the standard-bearers of the continental European sound: brutal, precise, metallic and groovy.

Tragically, Nasum’s lead singer and guitarist Mieszko Talarczyk lost his life in the 2004 Indian Ocean Tsunami/Earthquake. Eight years later the surviving members of Nasum reunited with Rotten Sound vocalist Keijo Niinimaa for a special one-off tour to celebrate the band’s 20th anniversary. The final show of that tour was held on the band’s home turf, the now-closed Debaser Medis venue in Stockholm, a performance which was captured for Nasum: Blasting Shit to Bits – The Final Show, released on Selfmadegod on December 18.

Combining backstage interviews with pummeling live footage, Blasting Shit to Bits – The Final Show serves as both a fitting tribute to the late Talarcyzk and also a visceral portrait of a modern grindcore performance at its most visceral. The upcoming DVD serves as a profound meditation on grief, loss and triumph through the power off unbelievably brutal music.

  • Release date: December 18, 2020 on DVD through Selfmadegod Records.
  • Pre-order will start on October 20.

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Blast Worship: Soil of Ignorance

Where they from?
Trois-Rivieres, Quebec. “Trois-Rivieres” translates to English as “three rivers” because it has three separate rivers running through it. Trois-Rivieres is famous for many things, most notably that it sits upon three rivers, which led to it’s name Trois-Rivieres, which translated from French literally means “three rivers.” Fun fact: this town sits upon three rivers, which coincidentally led to the town’s name, Trois-Rivieres, which translated from French literally means “three Rivers.” Three separate rivers run through the city, thus leading to it’s name… Trois-Rivieres.

Why the hype?
This band has been putting around on my periphery for a while now having put out split with Pizza Hi-Five, Endless Demise and the almighty WADGE but it wasn’t really until this past week that I sat down and gave one of their full lengths a proper listen, and man, am I glad I did. This is good ol’ fashioned grindcore at it’s most primitive and effective. Soil of Ignorance operate well within the realm of grind in which From Enslavement to Obliteration is held as the highest standard: overblown, dirty and political but with just enough songwriting variation to keep the heads a-banging. If your idea of grindcore is less camo shorts and clean production and more crust punks fighting in a public park over a can of Chef Boyardee, than I think this band might just be for you.

Latest Release?
Stop the Madness. It feels oddly earnest for a band to put out such a genuinely political grindcore record right now, especially one that focuses more on the classic metal themes of corporatocracy and environmental destruction than on social issues and identity politics, but here we are. I also really appreciate how there just seems to be a nuclear shroud over everything, beginning with the opening feedback shards of “Stop the Madness!” to the hazy southern swagger of album closer “Ablaze in the Southern Sky.” Climate scientists say that humanity might only have 50 years left on this planet before it’s made inhabitable by pollution and if that’s the case, then I think we may have just found the soundtrack for that prolonged collapse of humanity into global extinction.

Stop The Madness by Soil Of Ignorance

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Blast Worship: GRID

Where they from?
Umeå, Sweden. I just looked up Umeå on Wikipedia and since they don’t have an NFL team, I think I’ll just point out how many high-level bands there are from this little Scandanavian burg: Meshuggah, Refused, Final Exit and Cult of Luna just to name a few. Goddamn, what a list of heavy hitters.

Why the hype?
Swedish grindcore, let’s talk about it. Sweden has long been famous for having an enormously influential death metal tradition (you know, where the one city uses melody and that other city uses the HM2 or whatever) but Sweden also has a just as storied legacy for grindcore, and that legacy can be described in one word: NASUM.

Yes, every Swedish grind band for the most part as been the progeny of the legendary Nasum, with most bands sort of celebrating their Nasum-ness by producing albums that though high in quality and precision, rarely pull of a lot of daring in terms of creativity or originality.

Enter GRID, who though still well-steeped in the Nasum tradition, have found a lot of ways to push the Swedish grindcore sound into new territory. Where as most Swedish grind utilizes dark melodies to minimal effect, Grid embrace it and by doing so often find themselves venturing into anthemic crust punk territory which just happens to hit’s this reviewer’s ear in just the right way during this otherwise dismal year of ours.

Latest release?
Livsleda. It’s really rare for me that I can say I’ll have a part of a grindcore song stuck in my head (let’s be honest, most of the shit coming out these days sucks) but last week I found myself in the middle of a work meeting with the ending riff of “Doomed” stuck in my head with all it’s dark majesty. This album has a few of those kind of moments on songs like “Disinformation=facts” and the absolutely stunning title track. I really have not felt like a grind album has had this sort of emotional impact since the last Gridlink record, and that was five years ago! Yeah, you definitely need to familiarize yourself with this band.

Livsleda (2020) by GRID

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Video Premiere: Rusty Eye – ‘Can’t Wait to Go to Hell’

California metal act Rusty Eye are ending a six-year drought of new, original music this fall with Dissecting Shadows, the follow up to 2014’s Saca el cobre. Though it’s still a month from the album’s release, Rusty Eye have shared the video for new song “Can’t Wait to Go to Hell.” Starting off with progressive metal riffing and the dual vocals of drummer Miss Randall and bassist Mr. Rust, pack grooves, solos, synths and an anthemic chorus into the new song.

The accompanying video fits with Rusty Eye’s tributes to Italian horror and grindhouse films, combing cinematic elements with a live performance.

“We have never been a generic band and our focus has always been on the theatricality and cleverness of heavy metal music,” Mr. Rust said in a video explaining the new song.

Dig into “Can’t Wait to Go to Hell” below. Dissecting Shadows is out digitally on October 23.

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Blast Worship: Pyosisified

Where they from?
More like where SHE from, and she is very much from Houston, Texas. Did you know that most of Robocop was shot in Houston? Yeah, that’s right, a movie about a killer cyborg that takes place in a dystopian bleak hellscape of Detroit was actually filmed in Houston. That’s pretty bad. That’s like if the next Star Wars movie took place on a planet made of garbage and they filmed the whole thing in Elizabeth, New Jersey. Wow, I can’t believe how realistic of a scenario that is.

Why the hype?
One-person goregrind bands — let’s talk about. Most of the time these things are a disaster! Especially if there’s a drum machine involved, FORGET ABOUT IT! It’s like, how do you fuck up blast beats when you literally have a COMPUTER PROGRAM that can make drum beats FASTER THAN ANY HUMAN COULD?!

But not Pyosisified. Someone definitely got an A+ in their Agoraphobic Nosebleed course because the blasts here are quite face-melting, at times even broaching the ferocious territory of those Midwest hyper gore blast bands like Sulfuric Cautery and Deterioration. As with most gore-leaning grind, it lives or dies by the vocals and Bridget does not disappoint here, delivering a powerful performance that to me sounds brutal and eviscerating as fuck but something your stepmom would probably describe as “LIKE AN ELK BEING CUT IN HALF BY A CHAINSAW!”

Latest release?
Demo from 2020. I did not realize until about halfway through listening that this is a GUITARLESS musical project, which is fine since I think the bass tone is nailed so perfectly here, a difficult thing to accomplish in the world of grind (see: Napalm Death’s Scum for further reading). 2020 has seen society move past the need for a lot of the luxuries of the past, is guitar one of them? I say yes. From now on I want to go to Sam Ash and just see an endless line of people shredding bass and keyboard and the occasional sax and that’s it. SAY NO TO SIX STRINGS!

Demo by Pyosisified

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