Grindcore

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For the fictional Transformers character, see Grindcore (Transformers).

Grindcore

Stylistic origins

Extreme metal

hardcore punk

crust punk

industrial rock

noise rock

Cultural origins

Mid 1980s, England

Typical instruments

Electric guitar, bass guitar,drums, vocals

Derivative forms

Mathcore, powerviolence
Subgenres

Cybergrind

noisegrind
Fusion genres

Deathgrind

goregrind

pornogrind
Other topics

Crossover thrash

metalcore

Grindcore is an extreme genre of music that originated in the early to mid-1980s. It draws
inspiration from some of the most abrasive-sounding music genres including extreme
metal (mainly thrash and death metal), hardcore punk, crust punk, industrial rock and noise
rock. Grindcore is characterized by a noise-filled sound that uses heavily distorted, downtuned guitars, grindingoverdriven bass, high speed tempo, blast beats, and vocals which
consist of growls and high-pitched shrieks. Early groups likeNapalm 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". Several bands have produced songs that are only
seconds in length.[1] British band Napalm Death holds the Guinness World Record for
shortest song ever recorded with the one-second "You Suffer" (1987). Many bands record
simple phrases that may be rhythmically sprawled out across an instrumental lasting only a
couple of bars in length.

A variety of "microgenres" have subsequently emerged, often labeling bands according to

traits that deviate from regular grindcore, including goregrind, focused on themes of gore,
and pornogrind, fixated on pornographic lyrical themes. Other offshoots include noisegrind
(especially raw and chaotic) and electrogrind (incorporating electronic elements such as
sampling and programmed drums). Although an influential phenomenon on hardcore punk
and other popular genres, grindcore itself remains an underground form of music.
Contents

1Characteristics
o 1.1Blast beat
o 1.2Lyrical themes
2History
o 2.1Precursors
o 2.2British grindcore
o 2.3North American grindcore
o 2.4Continental European grindcore
3Influence on other genres
o 3.1Powerviolence
o 3.2Industrial and electronic music
o 3.3Mathcore
4See also
5Notes
6References

Characteristics[edit]
Grindcore evolved as a blend of thrash metal and hardcore punk. The name derives from
the fact that grind is a British term for thrash; that term was appended to core fromhardcore.[2] Grindcore relies on standard hardcore punk and heavy
metal instrumentation: electric guitar, bass and drums.[3] However, grindcore alters the
usual practices of metal or rock music in regard to song structure and tone.[3] The vocal
style is "ranging from high-pitched shrieks to low, throat-shredding growls and barks."[3] 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 Naked City.
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 "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.[4] Beyond the microsong, it is characteristic of grindcore to have short songs in
general; for example, Carcass' debut album Reek of Putrefaction (1988) consists of 22
tracks with an average length of 1 minute and 48 seconds. It is also not uncommon for
grindcore albums to be very short when compared to other genres, usually consisting of a
large tracklist but having a total length of only 15 to 20 minutes.
Many grindcore groups experiment with down-tuned guitars. While the vinyl A-side of
Napalm Death's debut, 1987's Scum, is set to standard tuning, on side B, the guitars are
tuned down 2 steps. Their second album From Enslavement to Obliteration and
the Mentally Murdered EP were tuned to C. Harmony Corruption, their third full-length
album, was tuned up to a D. Bolt Thrower went further, dropping 3 steps down (A).[5] Bass
is tuned low as well, and is often distorted.

Blast beat[edit]
Main article: Blast beat

An example of a blast beat

A blast beat played at
tempos of 124, 160, 200 and
240 BPM, respectively.

Problems playing this file? See media

help.

The blast beat is a drum beat characteristic of grindcore in all its forms,[6] although its usage
predates the genre itself, as it is native to jazz. In Adam MacGregor's definition, "the blastbeat 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."[6] Blast
beats have been described as "maniacal percussive explosions, less about rhythm per
second than sheer sonic violence."[7] Napalm Death coined the term,[7] 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.[8] D.R.I. ("No
Sense"),[6] S.O.D. ("Milk"),[9]Sarcfago ("Satanas"),[10] Sepultura ("Antichrist"),[11] and Repulsi
on[12] also included the technique prior to Napalm Death's emergence. According to some
sources, it was LARM that first used the blast beat. LARM and Napalm Death became
bands around the same time.

Lyrical themes[edit]
Grindcore lyrics are typically provocative. A number of grindcore musicians are committed
to political and ethical causes, generally leaning towards the far left in connection to
grindcore's punk roots.[13] For example, Napalm Death's songs address a variety
of anarchist concerns, in the tradition of anarcho-punk. These themes include antiracism,feminism, anti-militarism, and anti-capitalism. Other grindcore groups, such
as Cattle Decapitation and Carcass, have expressed disgust with human behavior, animal
abuse, and are, in some cases, vegetarians or vegans.[14] Carcass' work in particular is
often identified as the origin of the goregrind style, which is devoted to "bodily"
themes.[15] Groups that shift their bodily focus to sexual matters, such as Gut and the Meat
Shits, are sometimes referred to as pornogrind.[16] Seth Putnam's lyrics are notorious for
their black comedy,[17] while The Locust tend toward satirical collage, indebted to William S.
Burroughs' cut-up method.[18]

History[edit]
Precursors[edit]
The early grindcore scene relied on an international network of tape
trading and DIY production.[19] The most widely acknowledged precursors of the grindcore
sound areSiege,[20] a hardcore punk group, and Repulsion, an early death
metal outfit.[12] Siege, from Weymouth, Massachusetts, were influenced by
classic American hardcore (Minor Threat, Black Flag, Void) and by British groups
like Discharge, Venom, and Motrhead.[21] 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.[21]
Repulsion is often credited with inventing the classic grind blast beat (played at 190 bpm),
as well as its distinctive bass tone.[12] Shane Embury, in particular, advocates the band as
the origin of Napalm Death's later innovations.[12] 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."[22]
Other groups in the British grindcore scene, such as Heresy and Unseen Terror, have
emphasized the influence of American hardcore punk, including Septic Death, as well as

Swedish D-beat.[23] Sore Throat cites Discharge, Disorder, and a variety of European Dbeat and thrash metal groups, including Hellhammer,[24] and American hardcore groups,
such as Poison Idea and DRI.[24] Japanese hardcore, particularly GISM, is also mentioned
by a number of originators of the style.[25] Other key groups cited by current and former
members of Napalm Death as formative influences include
Discharge,[26] Amebix,[27] Throbbing Gristle,[28] and the aforementioned Dirty Rotten
Imbeciles.[28] Post-punk, such asKilling Joke[26] and Joy Division,[29] was also cited as an
influence on early Napalm Death.

British grindcore[edit]

Grindcore pioneers Napalm Death in a 2007 show

External video
Napalm Death live in Germany, 1987, fromYouTube,
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 theanarcho-punk scene in Birmingham,
England.[30] While their first recordings were in the vein of Crass,[30] they eventually became
associated with crust punk.[31] The group began to take on increasing elements
of thrashcore, post-punk, and power electronics.[32] The group also went through many
changes in personnel.[33] A major shift in style took place after Mick Harris became the
group's drummer.[33] Punk historian Ian Glasper indicates that "For several months gobsmacked 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."[33] Albert
Mudrian's research suggests that the name "grindcore" was coined by Harris. When asked
about coming up with the term, Harris said:
Grindcore came from "grind", which was the only word I could use to describe 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.[34]
Other sources contradict Harris' claim. In a Spin magazine article written about the genre,
Steven Blush declares that "the man often credited" for dubbing the style grindcore
wasShane Embury, Napalm Death's bassist since 1987. Embury offers his own account of
how the grindcore "sound" came to be:
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.[35]
Earache Records founder Digby Pearson concurs with Embury, saying that Napalm Death
"put hardcore and metal through an accelerator."[36] 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."[37]
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."[38] As James Hoare, deputy editor of Terrorizer, writes:
It can be argued that no strand of extreme metal (with a touch of hardcore and postpunk tossed in for flavouring), has had so big an impact outside the gated community of
patch-jackets and circle-pits as grindcore has in the UK. [...] the genre is a part of the
British musical experience.[39]
Napalm Death's seismic impact inspired other British grindcore groups in the 1980s, among
them Extreme Noise Terror,[31] Carcass and Sore Throat.[40] Extreme Noise Terror, from
Ipswich, formed in 1984.[41] With the goal of becoming "the most extreme hardcore punk
band of all time,"[42] the group took Mick Harris from Napalm Death in 1987.[43] 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."[43] In 1991, the group collaborated with
the acid house group The KLF, appearing onstage with the group at the Brit Awards in
1992.[44] Carcass released Reek of Putrefaction in 1988, which John Peel declared his
favorite album of the year despite its very poor production.[45] The band's focus on gore and
anatomical decay, lyrically and in sleeve artwork, inspired the goregrind subgenre.[15] Sore
Throat, said by Ian Glasper to have taken "perhaps the most uncompromisingly anti-music
stance"[46] were inspired by crust punk as well as industrial music.[47] Some listeners, such
as Digby Pearson, considered them to be simply an in-joke or parody of grindcore.[48]
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.[49] The
inclusion of Napalm Death's "Twist the Knife (Slowly)" on the Mortal Kombat soundtrack
brought the band much greater visibility, as the compilation scored a Top 10 position in
the Billboard 200 chart[50] and went platinum in less than a year.[51] 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."[52] Lee Dorian 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."[53]

North American grindcore[edit]

Seth Putnam of Anal Cunt at Relapse Festival, 1993

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.[54] 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.[54] American
groups also often employ riffs taken from crossover thrash or thrash metal.[54] Early
American grind practitioners included Terrorizer and Assck.[40] Anal Cunt, a particularly
dissonant group who lacked a bass player, were also particularly influential.[54] 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."[19][55] Brutal Truth was a groundbreaking group in the American scene at the beginning
of the 1990s.[40]
However, Sharp indicates that they were more inspired by the thrash metal of Dark
Angel than the British groups.[22] Discordance Axis had a more technical style of playing
than many of the predecessors, and had a much more ornate visual and production
style.[54] Scott Hull is prominent in the contemporary grindcore scene, through his
participation in Pig Destroyer and Agoraphobic Nosebleed.[56] 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."[57] 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,[58] while Agoraphobic Nosebleed takes cues
from thrashcore and powerviolence, like D.R.I. and Crossed Out.[58] Pig Destroyer's style is
sometimes referred to as "deathgrind",[59] because of the prevalence of death metal
influences, as are Cattle Decapitation.[60]

External video
Pig Destroyer's "Gravedancer", fromYouTube,
authorized by Relapse Records.

The Locust, from San Diego,[56] 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.[61] The Locust were sometimes described
as "hipster grind" because of their fan base and fashion choices.[54] In Los
Angeles, 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),[62] 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.[62]

Other later prominent grindcore groups of North America include Brujeria,[63] Soilent
Green,[64] Cephalic Carnage, Impetigo,[65] and Circle of Dead Children.[66] 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 AllMusicreviewer Greg Prato.[67]

Continental European grindcore[edit]

Finnish grindcore group Rotten Sound performing in Kuopio in 2008

European groups, such as Agathocles, from Belgium,[40] Patareni, of Croatia, Extreme

Smoke 57, from Slovenia, and Fear of God, from Switzerland, are important early
practitioners of the style.[68] Filthy Christians, who signed to Earache Records in 1989,
introduced the style in Sweden,[69] while Cripple Bastards established Italian
grindcore.[23] 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.[23] Nasum, who emerged from theSwedish death metal scene,[70] became a popular
group, addressing political topics from a personal perspective.[71]
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 sellouts, but not
really true to the original essence of grindcore."[71] Other Swedish groups, such as General
Surgery and Regurgitate, practiced goregrind.[72]Inhume, from the Netherlands,[73] Rotten
Sound, from Finland,[74] and Leng Tch'e, from Belgium,[75] were subsequent European
groups who practiced grindcore with death metal inflections. In 2000s, the Belgiumbased Aborted "had grown into the role of key contributors to the death-grind genres".[76]

Influence on other genres[edit]

Japanese noise rock group Boredoms have borrowed elements of grind,[3][77] and toured
with Brutal Truth in 1993.[78] The Japanese grindcore group Gore Beyond Necropsyformed
in 1989, and later collaborated with noise music artist Merzbow.[79] Naked City, led by avantgarde jazz saxophonist John Zorn, performed an avant-garde form ofpolystylistic,
grindcore-influenced punk jazz.[80][81] Zorn later formed the Painkiller project with ambient
dub producer Bill Laswell on bass guitar and Mick Harris on drums,[82]which also
collaborated with Justin Broadrick on some work.[83] 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[edit]
Main article: Powerviolence
Powerviolence is a raw and dissonant subgenre of hardcore punk.[84][85] The style is closely
related to thrashcore[84] and similar to grindcore. While powerviolence took inspiration from
Napalm Death and other early grind bands, powerviolence groups avoided elements of
heavy metal.[86] Its nascent form was pioneered in the late 1980s in the music of hardcore
punk band Infest, who mixed youth crew hardcore elements with noisier, sludgier qualities
of Lrm and Siege.[84][85] 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.[84]

Powerviolence bands focus on speed, brevity, bizarre timing breakdowns, and constant
tempo changes.[84] Powerviolence songs are often very short; it is not uncommon for some
to last less than 30 seconds.[84] Some groups, particularly Man Is the Bastard, took
influence from sludge metal and noise music.[84][85] Lyrically and conceptually, powerviolence
groups were very raw and underproduced, both sonically and in their packaging.[84][85] Some
groups (Man Is the Bastard and Dropdead) took influence fromanarcho-punk and crust
punk, emphasizing animal rights and anti-militarism.[85] The Locust[87] and Agoraphobic
Nosebleed later reincorporated elements of powerviolence into grindcore.[58]

Industrial and electronic music[edit]

See also: Hardcore punk Electronic music

Justin Pearson of The Locust, originators of electrogrind

Among other influences, Napalm Death took impetus from the industrial
music scene.[28] Subsequently, Napalm Death's former guitarist, Justin Broadrick, went on to
a career in industrial metal with Godflesh.[26] Mick Harris, in his post-Napalm Death
project, Scorn, briefly experimented with the style.[88] Scorn also worked in the industrial hip
hop[89] and isolationist styles.[90] Fear Factory[91] have also cited debts to the genre. Digital
hardcore is an initially German hybrid of hardcore punk and hardcore
techno.[92] Agoraphobic Nosebleed and the Locust have solicited remixes from digital
hardcore producers and noise musicians.[93][94] James Plotkin, Dave Witte,
and Speedranch participated in the Phantomsmasherproject, which melds grindcore and
digital hardcore. Alec Empire collaborated with Justin Broadrick, on the first Curse of the
Golden Vampirealbum,[95] and with Gabe Serbian, of the Locust, live in
Japan.[96] Japanoise icon Merzbow also participated in the Empire/Serbian show.[96]
The 21st century also saw the development of "electrogrind" (or "cybergrind"),[97][98] practiced
by The Berzerker, Body Hammer, Gigantic Brainand Genghis Tron which borrows
from electronic music.[55] These groups built on the work of Agoraphobic Nosebleed, Enemy
Soil and The Locust, as well as industrial metal.[97] The Berzerker also appropriated the
distorted Roland TR-909 kick drums of gabber producers.[99] Many later electrogrind groups
were caricatured for their hipster connections.[97]

Mathcore[edit]
Main article: Mathcore
In the mid-1990s, mathcore groups[100][101] such as The Dillinger Escape Plan,[102] Some
Girls,[103] and Daughters[104][105] began to take inspiration from developments in grindcore.
These groups also include elements of post-hardcore.[100] In addition to mathcore some
early screamo groups,[106] like Circle Takes the Square and Orchid,[107] have been associated
with grindcore by some commentators.

See also[edit]

List of grindcore bands

Napalm Death: Thrash to Death (BBC documentary)

Notes[edit]
1.
2.

3.
4.
5.
6.

7.

8.
9.
10.
11.
12.

13.
14.
15.

16.

17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.

28.
29.
30.
31.
32.

^ Metal: The Definitive Guide (Garry Sharpe-Young), US

Death Metal and Grindcore
^ Prown, Pete; Newquist, Harvey P. (1997). "Chapter Thirtythree: Industrial and Grindcore". Legends of Rock Guitar:
The Essential Reference of Rock's Greatest Guitarists. Hal
Leonard Corporation. p. 249. ISBN 978-0793540426.
^ a b c d "Grindcore", Allmusic. [1] Access date: September
16, 2008.
^ McPheeters, Sam (2006-03-09). "Extreme Extremeness".
Orange County Weekly. Retrieved 2011-03-27.
^ Johnson 2007, page 04.
^ a b c Adam MacGregor, Agoraphobic Nosebleed
review, Dusted, June 11, 2006. [2]Access date: October 2,
2008.
^ a b Strub, Whitney. "Behind the Key Club: An Interview with
Mark 'Barney' Greenway of Napalm Death". PopMatters,
May 11, 2006. Retrieved September 17, 2008.
^ Ekeroth, p. 22.
^ Stormtroopers of Death, 1985, track 11.
^ Sarcfago,
^ Sepultura, 1986, track 10.
^ a b c d Matthew Widener, "Scared to Death: The Making of
Repulsion's Horrified", Decibelno. 46, August 2008, p. 6369.
^ "Grindcore Special," p. 46.
^ Carcass biography. NME.com. [3] Access date: April 25,
2009.
^ a b Widener, Matthew. Carcass Clones. Decibel Magazine.
Archived from the originalon 2007-12-14. Retrieved 200711-28.
^ Purcell, Natalie J. (2003). Death Metal Music: The Passion
and Politics of a Subculture. McFarland. pp. 2324. ISBN 07864-1585-1. Retrieved 2007-11-28.
^ Eduardo Rivadavia, Anal Cunt bio, Allmusic. [4] Access
date: April 25, 2009.
^ "The Locust: Catching Up with J.P.", October 17, 2007
^ a b "Grindcore Special", p. 44.
^ Steven Blush, "Boston Not L.A.", American Hardcore,
Feral House, p. 171.
^ a b Mudrian 2004, p. 50.
^ a b "Grindcore Special", p. 41.
^ a b c "Grindcore Special," p. 43.
^ a b "Grindcore Special", p. 45.
^ "Grindcore Special", p. 52.
^ a b c "Dark Recollections: Napalm Death, Scum," Terrorizer,
issue 183, May 2009, p. 84-85
^ Atkinson, Peter (2003-02-07). "Fire in the Belly: Interview
With Napalm Death's Mark "Barney" Greenway".
KNAC.COM. Retrieved 2008-06-19.
^ a b c Mudrian 2004, page 31.
^ Interview with Mick Harris, DVD half of Napalm
Death's Scum 20 year anniversaryreissue.
^ a b Glasper 2009, p. 11
^ a b "Crustgrind", "Grindcore Special" part 2, p. 46
^ Glasper 2009, p. 12

33.
34.
35.
36.
37.

38.
39.
40.

41.
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43.
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50.
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63.
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67.

^ a b c Glasper 2009, p. 14
^ Mudrian 2004, page 35.
^ Blush 1991, page 36
^ Blush 1991, page 35
^ Pearson, Digby (2007-04-26). "Godflesh/PSI etc - are they
Grind?". Ask earache - BraveWords.com. Retrieved 200806-15.
^ Glasper 2009, p. 22
^ James Hoare, Terrorizer, #180, February 2009, p. 1.
^ a b c d Felix von Havoc, Maximum
Rock'n'Roll #198. [5] Archived by Havoc Records. Access
date: June 20, 2008.
^ Glasper 2009, p. 273
^ Dean Jones, quoted in Glasper 2009, p. 273
^ a b Glasper 2009, p. 275
^ Glasper 2009, p. 277
^ Mudrian 2004, p. 132
^ Glasper 2009, p. 237
^ Glasper 2009, p. 238
^ Glasper 2009, p. 502
^ "It's Official: CANNIBAL CORPSE Are The Top-Selling
Death Metal Band Of The SoundScan
Era". BLABBERMOUTH.NET. 2003-11-17. Retrieved 200805-03.
^ "Billboard 200: Week of September 23, 1995". Rovi
Corporation. Retrieved2011-03-27.
^ "GOLD AND PLATINUM - Searchable Database". RIAA.
Retrieved 2008-10-14. Type "Mortal Kombat" in "Album"
space.
^ Glasper 2009, 279
^ Glasper 2009, p. 25
^ a b c d e f Kevin Stewart-Panko, "Altered States," "Grindcore
Special" part 2, p. 42-43.
^ a b Lilker
^ a b Mudrian, p. 265
^ Phil Freeman, "Gratuitous Grindcore Gross-Out Gimps'
Glade and Guns Get Guffaws",Village Voice, September 13,
2005. [6] Access date: July 19, 2008.
^ a b c Anthony Bartkewicz, "Pig Destroyer", Decibel, July
2007 [7] Access date: July 24, 2008
^ Bryan Reed, The Daily Tar Heel, July 19, 2007. [8] Access
date: March 27, 2011.
^ "The Locust, Cattle Decapitation, Daughters", Pop and
Rock Listings, The New York Times, April 13,
2007. [9] Access date: August 6, 2008.
^ LA Weekly, September 18, 2003 [10] Access date: July
24, 2008
^ a b "Flipside Interview from issue #68, September/October
1990". The First Session(Media notes). Hole. Sympathy for
the Record Industry, Flipside Magazine. 1995.
^ Jason Birchmeier, Matando Geros review,
Allmusic. [11] Access date: October 3, 2008.
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