View source for Grindcore

{{Short description|Extreme genre of music}}
{{Use dmy dates|date=February 2021}}
{{Infobox music genre
| name              = Grindcore
| stylistic_origins = {{flatlist|
* [[Hardcore punk]]
* [[crust punk]]
* [[thrashcore]]
* [[extreme metal]]
* [[thrash metal]]
* [[industrial music|industrial]]
* [[noise music|noise]]<ref>{{cite web|url=https://www.heavychronicle.com/campfire-stories/grindcore-unleashed-the-birth-evolution-and-impact-of-an-extreme-genre/|title=Grindcore Unleashed: The Birth, Evolution, and Impact of an Extreme Genre|website=Heavy Chronicle|access-date=7 November 2023|archive-date=7 November 2023|archive-url=https://web.archive.org/web/20231107200248/https://www.heavychronicle.com/campfire-stories/grindcore-unleashed-the-birth-evolution-and-impact-of-an-extreme-genre/|url-status=dead}}</ref>
}}
| cultural_origins  = Mid-1980s, England
| derivatives       = {{hlist|[[Mathcore]]|[[sass music|sass]]<ref>{{cite web |last1=ROA |first1=RAY |title=WTF is sasscore, and why is SeeYouSpaceCowboy bringing it to St. Petersburg's Lucky You Tattoo? |url=https://www.cltampa.com/music/show-previews/article/21012214/wtf-is-sasscore-and-why-is-seeyouspacecowboy-bringing-it-to-st-petersburgs-lucky-you-tattoo |website=[[Creative Loafing]] |access-date=9 February 2019}}</ref>}}
| subgenrelist      =
| subgenres         =
| fusiongenres      = * [[Deathgrind]]
* [[goregrind]]
* [[pornogrind]]
| regional_scenes   = 
* [[Music of Brazil#Brazilian grindcore and crust punk|Brazil]]
* [[Hardcore punk in the United Kingdom|United Kingdom]]
| local_scenes      = [[Popular music of Birmingham#Grindcore and extreme metal|Birmingham]]
| other_topics      = * [[Anarcho-punk]]
* [[crossover thrash]]
* [[D-beat]]
* [[death metal]]
* [[industrial metal]]
* [[metalcore]]
* [[powerviolence]]
* [[sludge metal]]
* [[speedcore]]
}}

'''Grindcore''' is an [[extreme metal|extreme]] fusion genre of [[heavy metal music|heavy metal]] and [[hardcore punk]] that originated in the mid-1980s, drawing inspiration from abrasive-sounding musical styles, such as [[thrashcore]],<ref name="Glasper 2009, p. 11"/><ref>{{cite book |last1=Mudrian |first1=Albert |title=Choosing Death: The Improbable History of Death Metal & Grindcore |date=2009 |title-link=Choosing Death: The Improbable History of Death Metal & Grindcore }}</ref> [[crust punk]],<ref name=grindcrust/> [[hardcore punk]], [[extreme metal]], and [[industrial music|industrial]]. Grindcore is considered a more noise-filled style of hardcore punk while using hardcore's trademark characteristics such as heavily [[Guitar distortion|distorted]], [[Guitar tunings#Dropped tunings|down-tuned guitars]], grinding [[overdriven bass]], high-speed [[tempo]], [[blast beat]]s, and vocals which consist of [[Death growl|growls]], shouts and high-pitched shrieks. Early groups such as England's [[Napalm Death]] are credited with laying the groundwork for the style. It is most prevalent today in North America and Europe, with popular contributors such as [[Brutal Truth]] and [[Nasum]]. Lyrical themes range from a primary focus on social and political concerns, to gory subject matter and [[black humor]].

A trait of grindcore is the "microsong", far shorter than average for punk or metal. Several bands have produced songs that are only seconds in length.<ref>Metal: The Definitive Guide (Garry Sharpe-Young), US Death Metal and Grindcore</ref> Many bands, such as [[Agoraphobic Nosebleed]], record simple phrases that may be rhythmically sprawled out across an instrumental lasting only a couple of [[Bar (music)|bars]] in length.

A variety of subgenres and [[microgenre]]s have subsequently emerged, often labeling bands according 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 offshoot is cybergrind which incorporates [[electronic music]] elements such as [[Sampling (music)|sampling]] and programmed drums. Although influential within hardcore punk and extreme metal, grindcore remains an underground form of music.

== Characteristics ==
{{Quote box
| quote = There are blurry lines that separate death metal, grindcore, and thrash metal and even black metal; some bands certainly overlap these genres. What sets grindcore apart mostly is how bands push the limits known to extreme music with more intensity, speed, intensity and lyrics. Short, buzzing riffs fast enough to snap necks; guttural vocals, and blast beats underneath it all define some of grindcore's key characteristics.
| source = Alex Distefano of ''[[OC Weekly]]'' (March 4, 2014) [https://www.ocweekly.com/top-10-grindcore-bands-6597574/]
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Known for being "among the noisiest, fastest and rawest kinds of metal,"<ref name="Blum">{{Cite web |last=Blum |first=Jordan|date=2021-11-19 |title=The 'Big 4' Bands of 17 Metal Subgenres |url=https://loudwire.com/big-4-bands-metal-subgenres/ |access-date=2025-05-26 |website=Loudwire |language=en}}</ref> grindcore is influenced by [[crust punk]],<ref name=grindcrust>"In Grind We Crust" [[Terrorizer (magazine)|Terrorizer]] #181, March 2009, p. 46, 51</ref> [[thrashcore]],<ref name="Glasper 2009, p. 11"/> [[hardcore punk]], [[death metal]]<ref name="Blum"/> and [[thrash metal]],<ref>{{cite web|url=https://www.allmusic.com/style/grindcore-ma0000004452|title=Grindcore Music Genre Overview - AllMusic|website=AllMusic}}</ref> as well as [[noise music|noise]] musical acts like [[Swans (band)|Swans]].<ref>{{cite web|url=https://www.spin.com/2019/11/grindcore-napalm-death-godflesh-carcass-june-1991/|title=Grindcore: Our 1991 Feature on the Metal Subgenre|author= Steven Blush |website=Spin}}</ref> The name derives from the fact that ''grind'' is a British term for ''thrash''; that term was prepended to ''-core'' from ''hardcore''.<ref>{{Cite book | first1=Pete | last1=Prown | first2=HP | last2=Newquist | title=Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists | chapter=Chapter Thirty-three: Industrial and Grindcore | page=249 | year=1997 | publisher=Hal Leonard Corporation | isbn=978-0793540426}}</ref>  Grindcore relies on standard hardcore punk instrumentation: [[electric guitar]], [[Bass guitar|bass]] and [[Drum kit|drums]].<ref name=amg/> However, grindcore alters the usual practices of metal or rock music in regard to song structure and tone.<ref name=amg/> The vocal style is "ranging from high-pitched shrieks to low, throat-shredding [[death growl|growls]] and barks."<ref name=amg/> In some cases, no clear lyrics exist. Vocals may be used as merely an added sound effect, a common practice with bands such as the experimental and jazz-infused band [[Naked City (band)|Naked City]].<ref>{{Cite web |title=The Quietus {{!}} Features {{!}} Anniversary {{!}} Early Reflections On Life In The Information Age: John Zorn's Naked City Turns 30 |url=https://thequietus.com/articles/27823-naked-city-john-zorn-review-anniversary |access-date=2023-09-06 |website=The Quietus |date=17 February 2020 |language=en-us}}</ref>

A characteristic of some grindcore songs is the "microsong," lasting only a few seconds. In 2001, the ''[[Guinness Book of World Records]]'' awarded Brutal Truth the record for "Shortest Music Video" for 1994's "[[Extreme Conditions Demand Extreme Responses|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.<ref name="OCW">{{cite web|url= http://www.ocweekly.com/2006-03-09/music/extreme-extremeness/|title= Extreme Extremeness|author= McPheeters, Sam|date= 9 March 2006|publisher= Orange County Weekly|access-date= 27 March 2011|archive-url= https://web.archive.org/web/20120929203844/http://www.ocweekly.com/2006-03-09/music/extreme-extremeness/|archive-date= 29 September 2012|url-status= dead}}</ref> Beyond the microsong, it is characteristic of grindcore to have short songs in general; for example, [[Carcass (band)|Carcass]]' debut album ''[[Reek of Putrefaction]]'' (1988) consists of 22 tracks with an average length of 1 minute and 48 seconds. It is common for grindcore albums to be very short when compared to other genres, usually consisting of a large track list but having a total length of only 15 to 20 minutes.

Many grindcore groups experiment with tuned-down guitars and play mostly with downstrokes of the pick, [[power chords]] and heavy [[distortion (music)|distortion]]. While the [[Gramophone record|vinyl]] [[A-side]] of Napalm Death's debut, 1987's ''[[Scum (Napalm Death album)|Scum]]'', is set to [[Eb tuning]], on side B, the guitars are tuned down to C. Their second album ''[[From Enslavement to Obliteration]]'' and the ''[[Mentally Murdered]]'' EP were tuned to [[C (musical note)|C]] [[Sharp (music)|♯]]. ''[[Harmony Corruption]]'', their third full-length album, was tuned up to a [[D tuning|D]]. [[Bolt Thrower]] went  further, dropping 3½ steps down ([[A (musical note)|A]]).<ref name=johnson200704>Johnson 2007, page 04.</ref> The bass playing is often overdriven.<ref name="Blum"/>

=== Blast beat ===
{{main|Blast beat}}
{{listen|filename=blast_beat.ogg|title=An example of a blast beat|description=A blast beat played at tempos of 124, 160, 200 and 240 BPM, respectively.|format=[[Ogg]]}}
The blast beat is a drum beat characteristic of grindcore in all its forms,<ref name="macgregor">Adam MacGregor, Agoraphobic Nosebleed review, ''Dusted'', 11 June 2006. [http://www.dustedmagazine.com/reviews/2945] {{Webarchive|url=https://web.archive.org/web/20081221133749/http://www.dustedmagazine.com/reviews/2945|date=21 December 2008}} Access date: 2 October 2008.</ref> although its usage predates the genre itself, in Adam MacGregor's definition, "the blast-beat generally 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-hat cymbal."<ref name=macgregor/> Blast beats have been described as "maniacal percussive explosions, less about rhythm per se than sheer sonic violence."<ref name=greenway>Strub, Whitney. [https://www.popmatters.com/music/interviews/napalm-death-060511.shtml "Behind the Key Club: An Interview with Mark 'Barney' Greenway of Napalm Death"]. ''PopMatters'', 11 May 2006. Retrieved 17 September 2008.</ref> Napalm Death coined the term,<ref name=greenway/> though this style of drumming had previously been practiced by others. Daniel Ekeroth argues that the blast beat was first performed by the Swedish group Asocial on their 1982 demo. [[Lärm]] ("Campaign For Musical Destruction")<ref>Ekeroth, p. 22.</ref> [[Dirty Rotten Imbeciles]] ("No Sense"),<ref name=macgregor/> [[Stormtroopers of Death]] ("Milk"),<ref>Stormtroopers of Death, 1985, track 11.</ref> [[Sarcófago]] ("Satanas"),<ref>Sarcófago,</ref> [[Sepultura]] ("Antichrist"),<ref>Sepultura, 1986, track 10.</ref> and [[Repulsion (band)|Repulsion]]<ref name=repulsion/> also included the technique prior to Napalm Death's emergence.

=== Lyrical themes ===
Grindcore lyrics are typically provocative. A number of grindcore musicians are committed to political and ethical causes, generally leaning towards the [[Far-left politics|far left]] in connection to grindcore's punk roots.<ref name=gs46>"Grindcore Special," p. 46.</ref> For example, Napalm Death's songs address a variety of [[anarchist]] concerns, in the tradition of [[anarcho-punk]]. These themes include [[anti-racism]], [[feminism]], [[anti-militarism]], and [[anti-capitalism]]. Early grindcore bands including Napalm Death, [[Agathocles (band)|Agathocles]] and [[Carcass (band)|Carcass]] made [[animal rights]] one of their primary lyrical themes.<ref name=barchi>{{cite magazine|access-date=24 March 2019|url=https://seer.ufrgs.br/revistadolhiste/article/viewFile/84969/48950|pages=190 (Napalm Death), 191 (Carcass) and 193–194 (Agathocles)|title=O ruído infame das ecologias menores|language=pt|issn=2359-5973|first=Rodrigo |last=Barchi|magazine=Revista do Lhiste|location=Porto Alegre, Brazil|number=6|volume=4|date=January 2017|quote=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. |url-status=live|archive-date=18 March 2019|archive-url=https://web.archive.org/web/20190318083858/https://seer.ufrgs.br/revistadolhiste/article/viewFile/84969/48950}}</ref> Some of them, such as [[Cattle Decapitation]] and Carcass, have expressed disgust with human behavior and animal abuse, and are, in some cases, [[vegetarians]] or [[veganism|vegans]].<ref>Carcass biography. NME.com. [https://www.nme.com/artists/carcass] Access date: 25 April 2009.</ref> Carcass' work in particular is often identified as the origin of the [[goregrind]] style, which is devoted to "bodily" themes.<ref name="Widener">{{cite journal
  | last = Widener
  | first = Matthew
  | title = Carcass Clones
  | journal = Decibel Magazine
  | url = http://www.decibelmagazine.com/features/dec2005/carcass_clones.aspx
  | archive-url = https://web.archive.org/web/20071214174913/http://www.decibelmagazine.com/features/dec2005/carcass_clones.aspx
  | archive-date = 14 December 2007
  | access-date = 28 November 2007 }}</ref> Groups that shift their bodily focus to sexual matters, such as [[Gut (band)|Gut]] and the Meat Shits, are sometimes referred to as [[pornogrind]].<ref name="passion book">{{cite book
  | last = Purcell
  | first = Natalie J.
  | title = Death Metal Music: The Passion and Politics of a Subculture
  | publisher = McFarland
  | year = 2003
  | pages = 23–24
  | isbn = 0-7864-1585-1
  | url = https://books.google.com/books?id=6ZErQs5hCUQC&q=%22gore+grind%22&pg=PA24
  |access-date= 28 November 2007 }}</ref> [[Seth Putnam]]'s lyrics are notorious for their [[black comedy]],<ref>Eduardo Rivadavia, Anal Cunt bio, Allmusic. [{{AllMusic|class=artist|id=p45080|pure_url=yes}}] Access date: 25 April 2009.</ref> while [[The Locust]] tend toward [[satirical]] collage, indebted to [[William S. Burroughs]]' [[cut-up]] method.<ref>{{cite web|url=http://acoatofredpaintinhell.wordpress.com/2007/10/17/the-locust-catching-up-with-jp/|title=The Locust: Catching Up with JP|date=17 October 2007|access-date=18 January 2018}}</ref>

== History ==
=== Precursors ===
The early grindcore scene relied on an international network of [[tape trading]] and [[DIY ethic|DIY]] production.<ref name=grind44>"Grindcore Special", p. 44.</ref> The most widely acknowledged precursors of the grindcore sound are [[Siege (band)|Siege]]<ref>Steven Blush, "Boston Not L.A.", ''American Hardcore'', Feral House, p. 171.</ref> and [[Repulsion (band)|Repulsion]], an early [[death metal]] outfit.<ref name=repulsion>{{cite magazine|author=Matthew Widener |title=Scared to Death: The Making of Repulsion's ''Horrified''|magazine=Decibel no. 46|date=August 2008|pages=63–69|isbn=9780306818066|url=https://books.google.com/books?id=uV3_AgAAQBAJ&q=widener+horrified+%22scared+to+death%22&pg=PA73 |access-date=8 June 2020}}</ref> Siege, from [[Weymouth, Massachusetts]], were influenced by classic [[Music of the United States#Rock, metal, and punk|American]] [[hardcore punk|hardcore]] ([[Minor Threat]], [[Black Flag (band)|Black Flag]], [[Void (band)|Void]]) and by [[Music of the United Kingdom (1980s)|British]] groups like [[Discharge (band)|Discharge]], [[Venom (band)|Venom]], and [[Motörhead]].<ref name=Siege>Mudrian 2004, p. 50.</ref> Siege's goal was maximum velocity: "We would listen to the fastest punk and hardcore bands we could find and say, 'Okay, we're gonna deliberately write something that is faster than them{{'"}}, drummer Robert Williams recalled.{{r|Siege}} Repulsion is sometimes credited with inventing the classic grind [[blast beat]] (played at 190 [[beats per minute|bpm]]), as well as its distinctive bass tone.{{r|repulsion}} [[Kevin Sharp (heavy metal)|Kevin Sharp]] of [[Brutal Truth]] declares that "''[[Horrified]]'' was and still is the defining core of what grind became; a perfect mix of hardcore punk with metallic gore, speed and distortion."<ref name=autogenerated2>"Grindcore Special", p. 41.</ref> Writer 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]".<ref>{{cite web |title=FREDDY ALVA |url=http://www.swnk.org/interviews/freddy-alva/ |access-date=28 July 2018 |url-status=usurped |archive-url=https://web.archive.org/web/20180728190929/http://www.swnk.org/interviews/freddy-alva/ |archive-date=July 28, 2018}}</ref>

Other groups in the British grindcore scene, such as [[Heresy (band)|Heresy]] and [[Unseen Terror]], have emphasized the influence of American [[hardcore punk]], including [[Septic Death]], as well as Swedish [[D-beat]].<ref name=grind43>"Grindcore Special," p. 43.</ref> [[Sore Throat (grindcore band)|Sore Throat]] cites Discharge, [[Disorder (band)|Disorder]], and a variety of European D-beat and thrash metal groups, including [[Hellhammer]],<ref name=autogenerated1>"Grindcore Special", p. 45.</ref> and American hardcore groups, such as [[Poison Idea]] and D.R.I.{{r|autogenerated1}} [[Japanese hardcore]], particularly [[GISM]], is also mentioned by a number of originators of the style.<ref name=grind52>"Grindcore Special", p. 52.</ref> Other key groups cited by current and former members of Napalm Death as formative influences include Discharge,<ref name=recollections>"Dark Recollections: Napalm Death, Scum," ''Terrorizer'', issue 183, May 2009, p. 84-85</ref> [[Amebix]],<ref name= knac2003>{{cite web|url= http://www.knac.com/article.asp?ArticleID=1770|title= Fire in the Belly: Interview With Napalm Death's Mark "Barney" Greenway|author= Atkinson, Peter|date= 7 February 2003|publisher=KNAC.COM|access-date= 19 June 2008}}</ref> [[Throbbing Gristle]],<ref name=mudrian3104>Mudrian 2004, page 31.</ref> and the aforementioned Dirty Rotten Imbeciles.{{r|mudrian3104}} [[Post-punk]], such as [[Killing Joke]]{{r|recollections}} and [[Joy Division]],<ref>Interview with Mick Harris, DVD half of Napalm Death's ''[[Scum (Napalm Death album)|Scum]]'' 20 year anniversary [[reissue]].</ref> was also cited as an influence on early Napalm Death.

===British grindcore===
[[File:Napalm Death, Lemon Tree, Aberdeen, 16th August 2007.jpg|thumb|right|Grindcore pioneers Napalm Death in a 2007 show]]
{{external media
| width  = 300px
| align  =
| video1 = [https://www.youtube.com/watch?v=XObk8-YLkNA&feature=channel_page Napalm Death live in Germany, 1987], from [https://www.youtube.com/ YouTube], authorized by [[Earache Records]].
}}
Grindcore, as such, was developed during the mid-1980s in the United Kingdom by [[Napalm Death]], a group who emerged from the [[anarcho-punk]] scene in Birmingham, England.<ref name="Glasper 2009, p. 11">Glasper 2009, p. 11</ref> While their first recordings were in the vein of [[Crass (band)|Crass]],<ref name="Glasper 2009, p. 11" /> they eventually became associated with [[crust punk]],<ref name=crust>"Crustgrind", "Grindcore Special" part 2, p. 46</ref> The group began to take on increasing elements of [[thrashcore]], [[post-punk]], and [[power electronics (music)|power electronics]], and began describing their sound as "Siege with [[Celtic Frost]] riffs".<ref>Glasper 2009, p. 12</ref> The group also went through many changes in personnel.<ref name="Glasper 2009, p. 14">Glasper 2009, p. 14</ref> A major shift in style took place after [[Mick Harris]] became the group's drummer.<ref name="Glasper 2009, p. 14" /> Punk historian Ian Glasper indicates that "For several months gob-smacked audiences weren't sure whether Napalm Death were actually a serious band any longer, such was the undeniable novelty of their hyper-speed new drummer."<ref name="Glasper 2009, p. 14" /> Albert Mudrian's research suggests that the name "grindcore" was coined by Harris. When asked about coming up with the term, Harris said:

{{Blockquote|Grindcore came from "grind", which was the only word I could use to describe [[Swans (band)|Swans]] after buying their first record in '84. Then with this new hardcore movement that started to really blossom in '85, I thought "grind" really fit because of the speed so I started to call it grindcore.<ref>Mudrian 2004, page 35.</ref>}}

Other sources contradict Harris' claim. In a ''[[Spin (magazine)|Spin]]'' magazine article written about the genre, [[Steven Blush]] declares that "the man often 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:

{{Blockquote|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 Swans. So, we just created a mesh of all those things. It's just everything going at a hundred miles per hour, basically.<ref name= blush36>Blush 1991, page 36</ref>}}

[[Earache Records]] founder [[Digby Pearson]] concurs with Embury, saying that Napalm Death "put hardcore and metal through an accelerator."<ref>Blush 1991, page 35</ref> 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, by the musicians who were its innovators [and] proponents."<ref>{{cite web|url= https://askearache.blogspot.com/2007_04_01_archive.html|title= Godflesh/PSI etc – are they Grind?|author= Pearson, Digby|date= 26 April 2007|publisher=Ask earache – BraveWords.com|access-date=15 June 2008}}</ref>

While abrasive, grindcore achieved a measure of mainstream visibility. ''[[New Musical Express]]'' featured Napalm Death on their cover in 1988, declaring them "the fastest band in the world."<ref>Glasper 2009, p. 22</ref> As James Hoare, deputy editor of ''[[Terrorizer Magazine|Terrorizer]]'', writes:
{{Blockquote|It can be argued that no strand of [[extreme metal]] (with a touch of [[hardcore punk|hardcore]] and [[post-punk]] tossed in for flavouring), has had so big an impact outside the gated community of patch-jackets and [[circle pit|circle-pits]] as grindcore has in the UK. [...] the genre is a part of the British musical experience.<ref>James Hoare, ''Terrorizer'', #180, February 2009, p. 1.</ref>}}

Napalm Death's seismic impact inspired other British grindcore groups in the 1980s, among them [[Extreme Noise Terror]],<ref name=crust /> [[Carcass (band)|Carcass]] and [[Sore Throat (grindcore band)|Sore Throat]].<ref name="vonhavoc">Felix von Havoc, ''Maximum Rock'n'Roll'' #198. {{cite web|url=http://www.havocrex.com/press/article/1/20 |title=Havoc Records and Distribution |access-date=20 June 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080605102813/http://www.havocrex.com/press/article/1/20 |archive-date=5 June 2008 }} Archived by Havoc Records. Access date: 20 June 2008.</ref> Extreme Noise Terror, from Ipswich, formed in 1984.<ref>Glasper 2009, p. 273</ref> With the goal of becoming "the most extreme hardcore punk band of all time,"<ref>Dean Jones, quoted in Glasper 2009, p. 273</ref> the group took Mick Harris from Napalm Death in 1987.<ref name="Glasper 2009, p. 275">Glasper 2009, p. 275</ref> Ian Glasper describes the group as "pissed-off hateful noise with its roots somewhere between early Discharge and Disorder, with [vocalists] Dean [Jones] and Phil [Vane] pushing their trademark vocal extremity to its absolute limit."<ref name="Glasper 2009, p. 275" /> In 1991, the group collaborated with the [[acid house]] group [[The KLF]], appearing onstage with the group at the [[Brit Awards]] in 1992.<ref>Glasper 2009, p. 277</ref> Carcass released ''[[Reek of Putrefaction]]'' in 1988, which [[John Peel]] declared his favorite album of the year despite its very poor production.<ref>Mudrian 2004, p. 132</ref> The band's focus on gore and anatomical decay, lyrically and in sleeve artwork, inspired the [[goregrind]] subgenre.<ref name="Widener" /> Sore Throat, said by Ian Glasper to have taken "perhaps the most uncompromisingly anti-music stance"<ref>Glasper 2009, p. 237</ref> were inspired by crust punk as well as industrial music.<ref>Glasper 2009, p. 238</ref> Some listeners, such as Digby Pearson, considered them to be simply an in-joke or parody of grindcore.<ref>Glasper 2009, p. 502</ref>

In the subsequent decade, two pioneers of the style became increasingly commercially viable. 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 period.<ref>{{cite web|url=http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=16769 |title=It's Official: CANNIBAL CORPSE Are The Top-Selling Death Metal Band Of The SoundScan Era |date=17 November 2003 |publisher=Roadrunnerrecords.com|access-date=3 May 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080602230201/http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=16769 |archive-date=2 June 2008 }}</ref> The inclusion of Napalm Death's "[[Fear, Emptiness, Despair|Twist the Knife (Slowly)]]" on the ''[[Mortal Kombat (soundtrack)|Mortal Kombat]]'' soundtrack brought the band much greater visibility, as the compilation scored a Top 10 position in the [[Billboard 200|''Billboard'' 200]] chart<ref>{{cite web|url= https://www.billboard.com/charts/1995-09-23/billboard-200|title= Billboard 200: Week of September 23, 1995|publisher= Rovi Corporation|access-date= 27 March 2011}}</ref> and went [[Music recording sales certification|platinum]] in less than a year.<ref name="RIAA_Certificate">{{cite web|title=Search Results for Mortal Kombat|publisher=[[Recording Industry Association of America]]|url=https://www.riaa.com/gold-platinum/?tab_active=default-award&se=mortal+kombat|access-date=12 April 2017}}</ref> The originators of the style have expressed some ambivalence regarding the subsequent popularity of grindcore. Pete Hurley, the guitarist of Extreme Noise Terror, declared that he had no interest in being remembered as a pioneer of this style: "''grindcore'' was a legendarily stupid term coined by a hyperactive kid from the West Midlands, and it had nothing to do with us whatsoever. 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-core genre-defining term you can come up with."<ref>Glasper 2009, 279</ref> [[Lee Dorrian]] of Napalm Death indicated that "Unfortunately, I think the same thing happened to grindcore, if you want to call it that, as happened to punk rock – all the great original bands were just plagiarised by a billion other bands who just copied their style identically, making it no longer original and no longer extreme."<ref>Glasper 2009, p. 25</ref>

=== North American grindcore ===
[[Image:Seth with AxCx at Relapse Festival 1993 crop.jpg|left|thumb|upright|[[Seth Putnam]] of Anal Cunt at Relapse Festival, 1993]]
[[Image:BrutalTruth by Christian Misje 02.jpg|thumb|Brutal Truth live at Hole In The Sky, 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]].<ref name=usgrind>Kevin Stewart-Panko, "Altered States," "Grindcore Special" part 2, p. 42-43.</ref> As early Napalm Death albums were not widely distributed in the United States, American groups tended to take inspiration from later works, such as ''[[Harmony Corruption]]''.<ref name=usgrind/> American groups also often employ riffs taken from [[crossover thrash]] or [[thrash metal]].<ref name=usgrind/> Early American grind practitioners included [[Terrorizer]] and [[Assück]].<ref name="vonhavoc"/> [[Anal Cunt]], a particularly dissonant group who lacked a bass player, were also particularly influential.<ref name=usgrind/> Their style was sometimes referred to as "noisecore" or "noisegrind", described by Giulio of [[Cripple Bastards]] as "the most anti-musical and nihilistic face of extreme music at that time."<ref name=grind44/><ref name=lilker/> [[Brutal Truth]] was a groundbreaking group in the American scene at the beginning of the 1990s.<ref name="vonhavoc"/>

However, Sharp indicates that they were more inspired by the thrash metal of [[Dark Angel (band)|Dark Angel]] than the British groups.<ref name=autogenerated2 /> [[Discordance Axis]] had a more technical style of playing than many of the predecessors, and had a much more ornate visual and production style.<ref name=usgrind/> [[Scott Hull (musician)|Scott Hull]] is prominent in the contemporary grindcore scene, through his participation in [[Pig Destroyer]] and [[Agoraphobic Nosebleed]].<ref name = m265/> ANb's ''[[Frozen Corpse Stuffed with Dope]]'' has been described as "the ''[[Paul's Boutique]]'' of grindcore", by ''Village Voice'' critic Phil Freeman, for its "hyper-referential, impossibly dense barrage of samples, blast beats, answering machine messages, and incomprehensibly bellowed rants."<ref>Phil Freeman, "Gratuitous Grindcore Gross-Out Gimps' Glade and Guns Get Guffaws", ''Village Voice'', 13 September 2005. [https://web.archive.org/web/20090117010851/http://www.villagevoice.com/2005-09-13/music/gratuitous-grindcore-gross-out-gimps-glade-and-guns-get-guffaws]  Access date: 19 July 2008.</ref> Pig Destroyer is inspired by thrash metal, such as Dark Angel and [[Slayer]], the [[sludge metal]] of the [[Melvins]], and grindcore practiced by Brutal Truth,<ref name="abpd">Anthony Bartkewicz, "Pig Destroyer", ''Decibel'', July 2007 [https://web.archive.org/web/20070913162946/http://www.decibelmagazine.com/features/jul2007/pigdestroyer.aspx] Access date: 24 July 2008</ref> while Agoraphobic Nosebleed takes cues from [[thrashcore]] and [[powerviolence]], like D.R.I. and [[Crossed Out]].<ref name=abpd/><ref>Bryan Reed, ''The Daily Tar Heel'', 19 July 2007. [http://www.dailytarheel.com/index.php/article/2007/07/phantom_limb_exorcises_its_emotions] {{Webarchive|url=https://web.archive.org/web/20120320045043/http://www.dailytarheel.com/index.php/article/2007/07/phantom_limb_exorcises_its_emotions|date=20 March 2012}} Access date: 27 March 2011.</ref>

{{external media
| width  = 300px
| align  =
| video1 = [https://www.youtube.com/watch?v=GvjGipvKaF0&feature=PlayList&p=A0AE5902F7B7D8BD&index=4 Pig Destroyer's "Gravedancer"], from [https://www.youtube.com/ YouTube], authorized by [[Relapse Records]].
}}
[[The Locust]], from San Diego,<ref name=m265>Mudrian, p. 265</ref> also take inspiration from powerviolence (Crossed Out, [[Dropdead]]), first-wave [[screamo]] (Angel Hair), obscure [[experimental rock]] ([[Art Bears]], [[Renaldo and the Loaf]]), and death metal.<ref>''LA Weekly'', 18 September 2003 {{cite web|url=http://www.brassland.org/ahb/writing/archives/2003/09/a_day_with_the.html |title=Writing: A Day with the Locust |access-date=24 July 2008 |url-status=dead |archive-url=https://web.archive.org/web/20090305104850/http://www.brassland.org/ahb/writing/archives/2003/09/a_day_with_the.html |archive-date=5 March 2009 }} Access date: 24 July 2008</ref> The Locust were sometimes described as "[[hipster (contemporary subculture)|hipster]] grind" because of their fan base and fashion choices.<ref name=usgrind/> In Los Angeles, [[Hole (band)|Hole]] also initially drew influence from grindcore in their early releases, particularly on their singles "[[Dicknail]]" and "[[Teenage Whore]]", as well as on their debut album, ''[[Pretty on the Inside]]'' (1991),<ref name="first">{{cite AV media notes
| title       = The First Session
| others    =Hole
| year        = 1995
| chapter  = Flipside Interview from issue #68, September/October 1990
| publisher   = Sympathy for the Record Industry, Flipside Magazine
}}</ref> all of which featured sexually provocative and violent lyrics, as well as 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 later releases.<ref name="first" />

Other later prominent grindcore groups of North America include [[Brujeria (band)|Brujeria]],<ref>Jason Birchmeier, ''Matando Güeros'' review, Allmusic. [{{AllMusic|class=album|id=r184749|pure_url=yes}}] Access date: 3 October 2008.</ref> [[Soilent Green]],<ref>D. Shawn Bosler, "Soilent Green", ''Decibel'', September 2005. [https://web.archive.org/web/20070808184328/http://decibelmagazine.com/features/sep2005/soilent_green.aspx] Access date: 3 October 2008.</ref> [[Cephalic Carnage]], [[Impetigo (band)|Impetigo]],<ref>John Book, Ultimo Mondo Cannibale review, Allmusic. [{{AllMusic|class=album|id=r9778|pure_url=yes}}] Access date: 3 October 2008.</ref> and [[Circle of Dead Children]].<ref>Alex Henderson, The Genocide Machine review, Allmusic. [{{AllMusic|class=album|id=r526333|pure_url=yes}}] Access date: 3 October 2008.</ref> [[Fuck the Facts]], a Canadian group, practice classic grindcore, characterized by the "metronome-precision drumming and riffing [that] abound, as well as vocal screams and growls" by ''[[AllMusic]]'' reviewer Greg Prato.<ref>Greg Prato, ''Stigmata High-Five'' review, Allmusic. [{{AllMusic|class=album|id=r850772|pure_url=yes}}] Access date: 21 March 2009.</ref>

=== Continental European grindcore ===
[[Image:Rotten Sound - Kuopio Rockcock - 02.JPG|thumb|left|Finnish grindcore group Rotten Sound performing in Kuopio in 2008]]
European groups, such as [[Agathocles (band)|Agathocles]], from Belgium,<ref name="vonhavoc"/> [[Patareni]], of Croatia, and [[:de:Fear of God (Schweiz)|Fear of God]], from Switzerland, are important early practitioners of the style.<ref>"Grindcore Special", p. 54.</ref> Filthy Christians, who signed to Earache Records in 1989, introduced the style in Sweden,<ref>Ekeroth, p. 262.</ref> D.D.T. & Fear of Dog were pioneering  grind & noise in Serbia since mid-end of '80, [[Extreme Smoke|Extreme Smoke 57]] in Slovenia at the early beginning of the '90, while [[Cripple Bastards]] established Italian grindcore.<ref name=grind43 /> Giulio of Cripple Bastards asserts that the name itself took some time to migrate from Britain, with the style being referred to as "death-[[thrashcore]]" for a time in Europe.<ref name=grind43/>
[[Nasum]], who emerged from the [[Swedish death metal]] scene,<ref>Ekeroth, p. 263, 381.</ref> became a popular group, addressing political topics from a personal perspective.<ref name=jakobson>Anders Jakobson interview, "Grindcore Special" part 2, p. 56.</ref>

Anders Jakobson, their drummer, reported that "It was all these different types of people who enjoyed what we were doing. [...] We made grindcore a bit easier to listen to at the expense of the diehard grindcore fans who thought that we were, well, not [[selling out|sellouts]], but not really true to the original essence of grindcore."<ref name=jakobson/> Other Swedish groups, such as [[General Surgery (band)|General Surgery]] and [[Regurgitate (band)|Regurgitate]], practiced goregrind.<ref>Ekeroth, p. 263.</ref> [[Inhume (band)|Inhume]], from the Netherlands,<ref>Eduardo Rivadavia, In for the Kill review, Allmusic. [{{AllMusic|class=album|id=r670927|pure_url=yes}}] Access date: 3 October 2008.</ref> [[Rotten Sound]], from Finland,<ref>Paul Kott, Still Psycho review, Allmusic. [{{AllMusic|class=album|id=r494191|pure_url=yes}}] Access date: 3 October 2008.</ref> and [[Leng Tch'e]], from Belgium,<ref>Cosmo Lee, ''Stylus'', 25 July 2008 {{cite web|url=http://www.stylusmagazine.com/reviews/leng-tche/the-process-of-elimination.htm |title=Leng TCH'e - the Process of Elimination - Review - Stylus Magazine |access-date=23 July 2008 |url-status=dead |archive-url=https://web.archive.org/web/20090108131213/http://www.stylusmagazine.com/reviews/leng-tche/the-process-of-elimination.htm |archive-date=8 January 2009 }} Access date: 23 July 2008.</ref> were subsequent European groups who practiced grindcore with death metal inflections. In 2000s, the Belgium-based [[Aborted]] "had grown into the role of key contributors to the death-grind genres".<ref name=allmusic>{{cite web |author=Rivadavia, Eduardo |title=Aborted |url={{AllMusic|class=artist|id=p568178|pure_url=yes}} |website=[[AllMusic]] |access-date=10 June 2009}}</ref>

=== Grindcore in Asian countries ===
In 2010, [[Singaporean]] band [[Wormrot]] signed a [[recording contract]] with [[Earache Records]].<ref name="Pearson">{{cite news|url=https://askearache.blogspot.com/2010/01/how-did-earache-sign-wormrot.html|title=How did Earache sign Wormrot?|last=Pearson|first=Digby|date=31 January 2010|publisher=[[Earache Records]]|access-date=11 July 2010}}</ref><ref>{{cite news|url=http://www.bravewords.com/news/131192|title=Wormrot ink deal with Earache Records|date=27 January 2010|work=[[BW&BK]]|access-date=11 July 2010|archive-date=29 September 2012|archive-url=https://web.archive.org/web/20120929122428/http://www.bravewords.com/news/131192|url-status=dead}}</ref>

In 2019, [[Philippines|Filipino]] band [[Tubero (band)|Tubero]] signed a recording contract with [[Tower of Doom (record label)|Tower of Doom Records]].<ref name="Asia">{{cite news|url=https://uniteasia.org/yo-massive-news-metal-madmen-tubero-signed-tower-doom-philippines/.html|title=Yo – This Is MASSIVE News – Metal Madmen Tubero Have Signed to Tower of Doom [Philippines]|last=Unite|first=Asia|date=17 July 2019|publisher=[[Tower of Doom Records|Tower of Doom]]|access-date=17 July 2019}}{{Dead link|date=August 2024 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

== Influence==
Japanese noise rock group [[Boredoms]] have borrowed elements of grind,<ref name=amg>"Grindcore", Allmusic. [{{AllMusic|class=explore|id=style/d393|pure_url=yes}}] Access date: 16 September 2008.</ref><ref>Brad Jones, "Bore None", ''Denver Westword'', 6 July 1994. [http://www.westword.com/1994-07-06/music/bore-none/] {{Webarchive|url=https://web.archive.org/web/20100302204120/http://www.westword.com/1994-07-06/music/bore-none/|date=2 March 2010}} Access date: 16 September 2008.</ref> and toured with Brutal Truth in 1993.<ref>Andrew Parks, "Boredoms Explore the Void", ''Theme Magazine'', issue 7, Fall 2006. {{cite web |url=http://www.thememagazine.com/stories/boredoms/ |title=Theme &#124; Boredoms Explore the Void |access-date=10 February 2015 |url-status=dead |archive-url=https://web.archive.org/web/20080924160907/http://www.thememagazine.com/stories/boredoms/ |archive-date=24 September 2008 }} Access date: 16 September 2008.</ref> The Japanese grindcore group [[Gore Beyond Necropsy]] formed in 1989, and later collaborated with [[noise music]] artist [[Merzbow]].<ref>{{Cite web|url=http://www.grindgore.net/interview-gbn.htm |title=Braindead Zine Interviews Gore Beyond Necropsy |publisher=Grindgore.com, 1 November 2003 |url-status=dead |archive-url=https://web.archive.org/web/20080129174152/http://www.grindgore.net/interview-gbn.htm |archive-date=29 January 2008 }}</ref> [[Naked City (band)|Naked City]], led by avant-garde jazz [[saxophone|saxophonist]] [[John Zorn]], performed an avant-garde form of [[polystylism|polystylistic]], grindcore-influenced [[punk jazz]].<ref>Bagatellen, "Slave to the Grind", 21 April 2004 {{cite web |url=http://www.bagatellen.com/archives/pdf_file/000495.html |title=Bagatellen: Slave to the Grind |access-date=21 June 2008 |url-status=dead |archive-url=https://archive.today/20041014144324/http://www.bagatellen.com/archives/pdf_file/000495.html |archive-date=14 October 2004 }} Access date: 21 June 2008</ref><ref>Christopher Thelen, ''Daily Vault'', 17 August 1998 [http://www.dailyvault.com/toc.php5?review=3813] Access date: 21 June 2008</ref> Zorn later formed the [[Painkiller (band)|Painkiller]] project with [[ambient dub]] producer [[Bill Laswell]] on bass guitar and Mick Harris on drums,<ref>{{cite web|url= {{AllMusic|class=artist|id=p40807|pure_url=yes}}|title= (((Pain Killer > Overview)))|author= Huey, Steve|publisher=allmusic.com|access-date= 2 July 2008}}</ref> which also collaborated with Justin Broadrick on some work.<ref>Cosmo Lee, ''Stylus Magazine'', 15 May 2006. {{cite web|url=http://www.stylusmagazine.com/reviews/jesu-final/silver-3.htm |title=Jesu / Final - Silver / 3 - Review - Stylus Magazine |access-date=8 August 2008 |url-status=dead |archive-url=https://web.archive.org/web/20070814083015/http://www.stylusmagazine.com/reviews/jesu-final/silver-3.htm |archive-date=14 August 2007 }} Access date: 8 August 2008.</ref> In addition, grindcore was one influence on the powerviolence movement within American hardcore punk, and has affected some strains of metalcore. Some musicians have also produced hybrids between grind and electronic music.

=== Powerviolence ===
{{main|Powerviolence}}
[[Powerviolence]] is a raw and dissonant subgenre of [[hardcore punk]].<ref name=terrorizer>"Powerviolence: The Dysfunctional Family of Bllleeeeaaauuurrrgghhh!!". ''Terrorizer'' no. 172. July 2008. p. 36-37.</ref><ref name=decibel>Anthony Bartkewicz. "[http://decibelmagazine.com/Content.aspx?ncid=7910 Screwdriver in the Urethra of Hardcore] {{webarchive|url=https://web.archive.org/web/20090610012035/http://decibelmagazine.com/Content.aspx?ncid=7910 |date=2009-06-10 }}". ''Decibel Magazine''. July 2007. Subscription-only site; interview reprinted in full at blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=52501650&blogID=285587688 (blacklisted link). Retrieved 17 November 2008.</ref> The style is closely related to [[thrashcore]]<ref name=terrorizer/> and similar to grindcore. While powerviolence took inspiration from Napalm Death and other early grind bands, powerviolence groups avoided elements of heavy metal.<ref name= powervio>{{cite web|url= http://www.decibelmagazine.com/features/jul2007/powerviolence.aspx|title= Screwdriver in the Urethra of Hardcore|author= Bartkewicz, Anthony|date=July 2007|publisher=Decibel Magazine|access-date= 20 June 2008|archive-url = https://web.archive.org/web/20080917072230/http://www.decibelmagazine.com/features/jul2007/powerviolence.aspx |archive-date=17 September 2008 |url-status=dead}}</ref> Its nascent form was pioneered in the late 1980s in the music of hardcore punk band [[Infest (band)|Infest]], who mixed [[youth crew]] hardcore elements with noisier, sludgier qualities of [[Lärm]] and [[Siege (band)|Siege]].<ref name=terrorizer/><ref name=decibel/> The microgenre solidified into its most commonly recognized form in the early 1990s, with the sounds of bands such as [[Man Is the Bastard]], [[Crossed Out]], No Comment, [[Capitalist Casualties]], and Manpig.<ref name=terrorizer/>

Powerviolence bands focus on speed, brevity, bizarre timing breakdowns, and constant tempo changes.<ref name=terrorizer/> Powerviolence songs are often very short; it is not uncommon for some to last less than 30 seconds.<ref name=terrorizer/> Some groups, particularly Man Is the Bastard, took influence from [[sludge metal]] and [[noise music]].<ref name=terrorizer/><ref name=decibel/> Lyrically and conceptually, powerviolence groups were very raw and underproduced, both sonically and in their packaging.<ref name=terrorizer/><ref name=decibel/> Some groups  (Man Is the Bastard, Azucares and [[Dropdead]]) took influence from [[anarcho-punk]] and [[crust punk]], emphasizing [[animal rights]] and [[anti-militarism]].<ref name=decibel/> [[The Locust]]<ref>Andrew Marcus, "Buzz Clip", ''SF Weekly'', 6 August 2003. [http://www.sfweekly.com/2003-08-06/music/buzz-clip/] {{Webarchive|url=https://web.archive.org/web/20121012044623/http://www.sfweekly.com/2003-08-06/music/buzz-clip/|date=12 October 2012}} Access date: 7 August 2008.</ref> and [[Agoraphobic Nosebleed]] later reincorporated elements of powerviolence into grindcore.<ref name=abpd/>

=== Industrial and electronic influence ===
{{See also|Hardcore punk#Electronic music}}
[[Image:The Locust.jpg|thumb|upright|[[Justin Pearson (musician)|Justin Pearson]] of The Locust, originators of electrogrind.]]
Among other influences, Napalm Death took impetus from the [[industrial music]] scene.<ref name=mudrian3104/> Subsequently, Napalm Death's former guitarist, [[Justin Broadrick]], went on to a career in [[industrial metal]] with [[Godflesh]].<ref name=recollections/> Mick Harris, in his post-Napalm Death project, [[Scorn (band)|Scorn]], briefly experimented with the style.<ref>Christian Genzel, Scorn, ''Stealth'' review, Allmusic.com, [{{AllMusic|class=album|id=r1263929|pure_url=yes}}] Access date: 24 July 2008</ref> Scorn also worked in the [[industrial hip hop]]<ref>David E. Flick, Scorn, ''Stealth'', ''Re:Gen Magazine'', 18 January 2008 {{cite web|url=http://www.regenmag.com/Reviews-1259-Scorn-Stealth.html |title=ReGen Reviews :: Scorn - Stealth |access-date=25 July 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080224050556/http://www.regenmag.com/Reviews-1259-Scorn-Stealth.html |archive-date=24 February 2008 }} Access date: 24 July 2008</ref> and [[Isolationism (music)|isolationist]] styles.<ref>Simon Reynolds, "Chill: the new ambient." ''Artforum'', January 1995. [https://archive.today/20120629010637/http://findarticles.com/p/articles/mi_m0268/is_n5_v33/ai_16462111/] Access date: 27 March 2011.</ref> [[Fear Factory]]<ref name= fear>{{cite video|people= Cordero, Amber (Director)|date= 18 December 2001|title= Fear Factory: Digital Connectivity|medium = motion picture|location = United States of America|publisher= Roadrunner Records}}</ref> have also cited debts to the genre. [[Digital hardcore]] is an initially German hybrid of hardcore punk and [[hardcore techno]].<ref name=dhr>Interview with J. Amaretto of DHR, WAX Magazine, issue 5, 1995. Included in liner notes of ''Digital Hardcore Recordings, Harder Than the Rest!!!'' compilation CD.</ref> Agoraphobic Nosebleed and the Locust have solicited remixes from digital hardcore producers and [[noise music]]ians.<ref>Whitney Strub, Agoraphobic Nosebleed review, 26 July 2007. ''Stylus Magazine''. {{cite web|url=http://www.stylusmagazine.com/review.php?ID%3D4258 |title=Agoraphobic Nosebleed - PCP Torpedo/ANbRX - Review - Stylus Magazine |access-date=19 July 2008 |url-status=dead |archive-url=https://web.archive.org/web/20090409233553/http://www.stylusmagazine.com/review.php?ID=4258 |archive-date=9 April 2009 }} Access date: 19 July 2008.</ref><ref>The Locust Biography {{cite web |url=http://www.sing365.com/music/lyric.nsf/The-Locust-Biography/BF43E426D51AEBEC48256DED00268F6E |title=The Locust Biography |access-date=19 July 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080623015551/http://www.sing365.com/music/lyric.nsf/The-Locust-Biography/BF43E426D51AEBEC48256DED00268F6E |archive-date=23 June 2008 }} Access date: 19 July 2008.</ref> [[James Plotkin]], [[Black Army Jacket|Dave Witte]], and [[Making Orange Things|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]] album,<ref>Ipecac Records, The Curse of the Golden Vampire. [http://www.ipecac.com/artists/curse_of_the_golden_vampire] Access date: 27 March 2011.</ref> and with [[Gabe Serbian]], of the Locust, live in Japan.<ref name="ae">"Alec Empire Interview: "People Are Organized But Political Music Is Not Really Being Made", ''Indymedia Ireland'', 28 December 2006 [http://www.indymedia.ie/article/80386] Access date: 25 July 2008.</ref> [[Japanoise]] icon [[Merzbow]] also participated in the Empire/Serbian show.<ref name=ae/>

====Electrogrind====
{{Hatnote|Not to be confused with [[electronicore]].}}

The 21st century also saw the development of "electrogrind" (or "cybergrind"),<ref name=egrind>Kevin Stewart-Panko, "Shock Tactics", "Grindcore Special", part 2, p. 52-53</ref><ref name="egrind2">Andrew Childers, "The Body Electric", "Grind and Punishment" 15 March 2010 [https://grindandpunishment.blogspot.com/2010/03/body-electric-grindcore-gets-down-with.html] Access Date: 22 March 2011</ref> practiced by [[The Berzerker]], [[Gigantic Brain]] and [[Genghis Tron]] which borrows from [[electronic music]].<ref name=lilker>Lilker</ref> These groups built on the work of Agoraphobic Nosebleed, [[Enemy Soil (band)|Enemy Soil]] and The Locust, as well as industrial metal.<ref name=egrind/> The Berzerker also appropriated the distorted [[Roland TR-909]] [[bass drum|kick drums]] of [[gabber]] producers.<ref>Liz Ciavarella, "The Berzerker: Sonic Discontent," ''Metal Maniacs'', vol. 26, no. 2, February 2009, p. 80-81.</ref> Bands like Libido Airbag and Cumfilled Brain incorporates elements of Grindcore, such as pitch-shifted, gurgled vocals, with the rhythmic structures of [[Techstep]]. Many later electrogrind groups were caricatured for their hipster connections.<ref name=egrind/>

=== Mathcore and screamo ===
{{main|Mathcore}}
In the mid-1990s, [[mathcore]] groups<ref name="Steve Carlson 2008">Steve Carlson, Hell Songs review, "Blog Critics", 19 October 2006. [http://blogcritics.org/music/article/music-review-daughters-hell-songs/] {{Webarchive|url=https://web.archive.org/web/20110605121724/http://blogcritics.org/music/article/music-review-daughters-hell-songs/|date=5 June 2011}} Access date: 13 September 2008.</ref><ref>"San Diego Reader"[http://www.sandiegoreader.com/bands/some-girls/] Access date: 27 March 2011.</ref>  such as [[The Dillinger Escape Plan]],<ref>{{ cite book | first = Keith | last = Kahn-Harris | author-link = Keith Kahn-Harris | url = https://books.google.com/books?id=wwgd9y-Ww5UC&pg=PA4 | date = 2007 | title = Extreme Metal | publisher = [[Berg Publishers]] | page = 4 | isbn = 978-1-84520-399-3 | quote = Contemporary grindcore bands such as The Dillinger Escape Plan [...] have developed avant-garde versions of the genre incorporating frequent time signature changes and complex sounds that at times recall free jazz. }}</ref> [[Some Girls (California band)|Some Girls]],<ref>Corey Apar, ''Heaven's Pregnant Teens'' review, ''Allmusic''. [{{AllMusic|class=album|id=r815725|pure_url=yes}}] Access date: 24 August 2008.</ref>  and [[Daughters (band)|Daughters]]<ref>Joe Davenport, ''Hell Songs'' review, ''Delusions of Adequacy'', 24 August 2006. {{usurped|1=[https://web.archive.org/web/20071010192246/http://www.adequacy.net/review.php?reviewID=7184]}} Access date: 25 August 2008.</ref><ref>Stewart Mason, Daughters biography, ''Allmusic''. [{{AllMusic|class=artist|id=p562421|pure_url=yes}}] Access date: 25 August 2008.</ref> began to take inspiration from developments in grindcore. These groups also include elements of [[post-hardcore]].<ref name="Steve Carlson 2008"/> In addition to mathcore, some early [[screamo]] groups,<ref>"Another interesting sub-subgenre was this strange crossover of first-generation [[emo]] and grind. Bands like Reversal of Man or Orchid may not have stood the test of time, but it was a pretty cool sound at the time and one that was pretty uniquely American. - Greg Pratt, "Altered States," "Grindcore Special" part 2, p. 43.</ref> like [[Circle Takes the Square]] and [[Orchid (screamo band)|Orchid]],<ref name="RB">Ryan Buege, "Circle Takes the Square is in the Studio". ''Metal Injection'', 15 June 2008. [http://metalinjection.net/latest-news/circle-takes-the-square-is-in-the-studio] Access date: 8 July 2008</ref> have been associated with grindcore by some commentators.

===Crust punk===
[[Crust punk]] had a major impact on grindcore's emergence. The first grindcore, practiced by British bands such as [[Napalm Death]], [[Extreme Noise Terror]] and [[Disrupt]] emerged from the crust punk scene. This early style is sometimes dubbed "crustgrind".<ref name=grindcrust/>

===Deathgrind===
Deathgrind is a shorthand term that is used to describe bands who play a fusion of [[death metal]] and grindcore. With growing popularity of grindcore in the metal fandom, some death metal bands were noted to feature a heavy amount of grindcore influence; thus, these bands ended up becoming called "deathgrind" for short (sometimes written as ''death-grind'' or ''death/grind'').<ref name=zerotolerance>"Grind Prix" (2005). ''[[Zero Tolerance Magazine|Zero Tolerance]]'' #004, p. 46.</ref> [[Dan Lilker]] described deathgrind as "combining the technicality of death metal with the intensity of grindcore."<ref name=grindyourmind>[[Danny Lilker|Lilker, Danny]], ''Grind Your Mind: A History of Grindcore'' liner notes. Mayan Records, MYNDD056, 2007.</ref>  Some examples of death metal and grindcore hybrids include [[Assück]], [[Circle of Dead Children]], [[Misery Index (band)|Misery Index]], [[Exhumed (band)|Exhumed]], [[Gorerotted]] and [[Cattle Decapitation]].<ref name=terrorizer1>Schwarz, Paul, "Death Metal|Death/Grind" (2006). ''[[Terrorizer (magazine)|Terrorizer]]'' #150, p. 54.</ref><ref name="allmusic" /><ref>"The Locust, Cattle Decapitation, Daughters", Pop and Rock Listings, ''The New York Times'', 13 April 2007. [https://www.nytimes.com/2007/04/13/arts/music/13pop.html?pagewanted=3] Access date: 6 August 2008.</ref><ref>{{Cite web|url=https://yourlastrites.com/2010/07/07/circle-of-dead-children-psalm-of-the-grand-destroyer/|title = Circle of Dead Children – Psalm of the Grand Destroyer Review|date = 7 July 2010}}</ref><ref>[https://metalinjection.net/reviews/misery-index-rituals-of-power Misery Index album review] [[Metal Injection]]</ref> Assück in particular has been credited as one of the earliest deathgrind acts.<ref name="IO">{{cite web |last1=Moore |first1=Doug |date=March 25, 2013 |title=Waxing Atrocious – Assück's Steve Heritage |url=https://www.invisibleoranges.com/waxing-atrocious-assucks-steve-heritage/ |url-status=live |archive-url=https://web.archive.org/web/20161129225728/http://www.invisibleoranges.com/waxing-atrocious-assucks-steve-heritage/ |archive-date=November 29, 2016 |access-date=March 1, 2017 |website=[[Invisible Oranges]]}}</ref>

===Blackened grindcore===
Blackened grindcore is a fusion genre that combines elements of [[black metal]] and grindcore.<ref>{{cite web|url=http://www.metalsucks.net/2015/09/16/converse-rubber-tracks-x-metalsucks-2015-preview-dendritic-arbor/|title=Converse Rubber Tracks x MetalSucks 2015 Preview: Dendritic Arbor|date=16 September 2015|publisher=[[Metal Sucks]]}}</ref><ref>{{cite web|url=http://www.metalsucks.net/2015/10/19/blackened-grindcore-innovators-dendritic-arbor-announce-fall-tour/|title=Blackened Grindcore Innovators Dendritic Arbor Announce Fall Tour|date=19 October 2015|publisher=[[Metal Sucks]]}}</ref>  Notable bands include [[Anaal Nathrakh]] and early [[Rotting Christ]].<ref>{{cite magazine|url=https://www.popmatters.com/170331-rotting-christ-kata-ton-daimona-eaytoy-2495764089.html|title=Rotting Christ: Kata Ton Daimona Eaytoy|date=15 May 2013|magazine=[[Pop Matters]]}}</ref>

===Noisegrind===
'''Noisegrind''' (also known as '''grindnoise''') is a [[microgenre]] that combines elements of grindcore and [[harsh noise]].<ref name="decibelmagazine.com">{{cite web|url=https://www.decibelmagazine.com/2018/03/06/fear-of-god-founder-erich-keller-talks-grindcore-history-album-reissue/|title=Fear of God Founder Erich Keller Talks Grindcore History, Album Reissue |website=Decibelmagazine.com|date=6 March 2018}}</ref> Notable bands include Holy Grinder,<ref>{{cite web|url=https://exclaim.ca/music/article/holy_grinder-cult_of_extermination|title=Holy Grinder Cult of Extermination|website=Exclaim.ca}}</ref> Sete Star Sept,<ref>{{cite web|url=http://www.taipeitimes.com/News/feat/archives/2016/03/18/2003641837|title=Live Wire: Violence in action - Taipei Times|website=Taipeitimes.com|date=18 March 2016}}</ref> [[Full of Hell (band)|Full of Hell]],<ref>{{cite web|url=https://www.revolvermag.com/music/6-new-songs-you-need-hear-week-60118|title=6 New Songs You Need to Hear This Week|date=1 June 2018}}</ref> Fear of God,<ref name="decibelmagazine.com"/> Insufferable,<ref>{{Cite web|url=https://insufferable.bandcamp.com/album/the-tightening-grip|title=The Tightening Grip, by Insufferable|website=Insufferable.bandcamp.com|access-date=7 January 2021|archive-date=18 April 2021|archive-url=https://web.archive.org/web/20210418223638/https://insufferable.bandcamp.com/album/the-tightening-grip|url-status=dead}}</ref> and early Knelt Rote.<ref>{{cite web|url=http://www.metalinjection.net/av/grindcore-monday/the-monday-grind-knelt-rote-trespass-is-a-grindcoreblack-metal-face-peeler|title=The Monday Grind: KNELT ROTE Trespass Is A Grindcore/Black Metal Face-Peeler|website=Metalinjection.net|date=6 February 2017}}</ref>

== See also ==
* [[List of grindcore bands]]
* ''[[Napalm Death: Thrash to Death]]'' <small>([[BBC]] documentary)</small>
* [[Animal rights and punk subculture]]

== Notes ==
{{Reflist}}

== References ==
* {{Cite journal | author = Appleford, Steve | year = 1998 | title = The family that plays together | journal = Guitar | volume = 15 | issue = 12 | pages = 40–42, 45–46, 49–50, 53–54, 57 }}
* {{Cite journal | author = Blush, Steven | year = 1991 | title = Grindcore | journal = Spin | volume = 7 | issue = 3 | pages = 35–36 | author-link = Steven Blush }}
* Carcass (1988). ''Reek of Putrefaction''. [CD]. Nottingham, UK: Earache Compact Discs, Cassettes & Records. (1994).
* Ekeroth, Daniel (2008). ''Swedish Death Metal''. Bazillion Points Books. {{ISBN|978-0-9796163-1-0}}
* Glasper, Ian (2009). ''Trapped in a Scene: UK Hardcore 1985-1989''. Cherry Red Books. {{ISBN|978-1-901447-61-3}}
* Grindcore Special (2009), ''Terrorizer'', '''180''', 41–56, and '''181''', 41–56.
* {{Cite journal|author=Johnson, Richard |year=2007 |title=Napalm death |url=http://www.disposableunderground.com/pdfs/Disposable_Underground_38.pdf |journal=Disposable Underground |volume=15 |issue=38 |pages=02–04 |url-status=dead |archive-url=https://web.archive.org/web/20080706163408/http://www.disposableunderground.com/pdfs/Disposable_Underground_38.pdf |archive-date=6 July 2008 }}
* [[Dan Lilker|Lilker, Danny]] (2007). "A User's Guide to Grindcore." ''Grind Your Mind: A History of Grindcore'' [CD]. Liner notes. Mayan Records, MYNDD056.
* Mudrian, Albert (2004). ''Choosing Death: The Improbable History of Death Metal and Grindcore''. Los Angeles, CA: Feral House.
* Sarcófago. (1986). Satanas. On ''Warfare Noise'' [CD]. Belo Horizonte, MG: Cogumelo Records. (2007).
* Sepultura (1986). Antichrist. On ''Morbid Visions'' [CD]. New York: Roadrunner Records. (1997).

== External links ==
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[[Category:Grindcore| ]]
[[Category:Hardcore punk genres]]
[[Category:Heavy metal genres]]
[[Category:Anarcho-punk]]
[[Category:Extreme metal]]
[[Category:English styles of music]]