ABERRANT EXTERMINATION IMPULSION - Grindcore Is Dead...Long Live Grindcore (Premiere & Review)3/10/2026 
Written by: The Administrator
In a manner misaligned with the genre's inherent brevity, I could happy wax poetic about the virtues of grindcore for hours. Days, even. In other words, prepare for a very long writeup. Grindcore as a genre is intriguing on a wide variety of levels. There's the obvious draw of the music itself, which is the abrasive audio equivalent of having one's skin zested whilst simultaneously being run over by a brush hog. There's the political level--it is irrefutable that a radical left-wing and anti-fascist ethos inform the genre's birth and development. And there's the structural level, which is perhaps the most unique. Grindcore is brisk. It consistently challenges expectations of song structure, of album length. It executes ideas with a keen succinctness that I profoundly admire. Needless to say, I'm always on the hunt for new grind and grind-adjacent music. Which is how, at the top of this year, I found myself listening to Annihilate, the second album from Matthew Brammer's Aberrant Extermination Impulsion. It was the project's second release within like 10 days, and fourth release within a month. I was extremely impressed, both by the sonic environment and the production rate. Aberrant Extermination Impulsion's penchant for finding the oh-so-sweet spot between bristling aggression and concise-yet-pulverizing songcraft was exciting. The project was also vocally anti-fascist, anti-MAGA, and anti-cop, which is always a plus. Indeed, before you press play, one thing is apparent: Aberrant Extermination Impulsion embodies a refreshing outspoken conviction. Matthew is ACAB all day, as evidenced by, y'know, the existence of a track entitled "ACAB." It is always cathartic to hear music that reflects how fucked up everything is, and even more so than previous releases, this album is pissed off. It calls a spade a spade, and it certainly doesn't hide behind apoliticality. "Support Your Local Copkiller" is unambiguous. "Kirkified" is straight to the point. "An Alarming Number of People Have Normalized the Taste of Leather" leaves zero room for interpretation. In a sociopolitical climate where the messaging of the status quo is perpetually disconnected from the reality we are experiencing, it is rousing to witness an inequivocabile Fuck You. Anyways, lets cut the chatter and get to the music, shall we? I'm pleased to premiere below in its entirety Grindcore Is Dead...Long Live Grindcore, the new album from Aberrant Extermination Impulsion. It will be officially released this Friday, March 13th, but you can listen to it (on repeat, preferably) via the embed conveniently lurking below. As always, we'll meet you on the other side!
If you typically enjoy grindcore on the more slamming and brutal end of the spectrum, you might find yourself a tad stunned by how dynamic some old-school riff-centric grind can be. The riffs here are lively and vivacious, and the album in general makes you want to get up and move around. It supplies venerable oodles of high-octane neck-snappers. A bombastic punky energy is littered liberally throughout. There's a potent dose of gnarly death pugilisim--this whole project could easily fit within the deathgrind genre tag. I guarantee that every single track here contains at least one throat-grabbing riff that asserts itself and leaves you yearning for more. "Why must the song be so short!" you cry, but another monster of a riff has already taken its place. A strange catchiness permeates the project--I've found myself, on multiple occasions, nodding furiously to the memory of a riff that only appeared for a mere moment in the lifespan of a micro-song. If that's not a good indication of superb songcraft, I'm not sure what is. And we haven't even mentioned the vocals, which rip and snarl and gurgle and grind with an unmatched intensity. I can seldom decipher the lyrics and my gutturals are garbage, but I constantly feel a strong urge to sing alone. Again: superb songcraft. Great grindcore is often defined, in my opinion, by its stickiness, its hookiness, its ability to stick around after the song is over. This is great grindcore. Grindcore Is Dead...Long Live Grindcore is perpetually lean 'n' mean, but it never feels sparse, if that makes any sense. It is almost entirely what I would classify as "breakneck," and yet plays with space and heft in a way that feels very deliberate. It's easy to think of raw grinding aggression as uncalculated, but it is very evident that much thought and consideration has been put into the interplay between tracks, and even within tracks themselves. "Shut It Down" is a great example--within a trim 1:30, we're treated to a growling intro, thick with menace, that erupts into pure roiling vitriol before easing into thunderous blastbeats and chunky groove that quickly evaporates into a droning outro. That's some compact and thrilling composition. And, to reiterate, we're only talking about one song. This album is twenty one tracks long. It's over in twenty two minutes. You do the math. 
So yeah. I (and you!) have no shortage of favorites to pick from. I really enjoy the bombastic intro "Lead Poisoning," which has an odd catchiness that builds after repeat listens. It feels like it references a variety of universal motifs--there's something so familiar in particular about the cadence of the vocals. A few tracks later, we're treated to the furious one-two punch of the barn-burning "250," which features the kind of meaty grooves that you want to throw your entire skeleton into, and the following "Miscreant," which is simply fun as hell. This track truly cranks the energy to the boiling point. It fires things off with an excitable riff that feels ripped from an alternate universe where thrash, rather than slamming brutality, informs the grindcore zeitgeist (if, uhhhh, such a thing exists.) And then "Kirkified" is punky and profoundly badass. It's a song designed to make you move, and it is over far too quickly. Which, arguably, means it is the perfect length. Later, "Inflammatory" feels like the heart-pounding final moments of a bossfight--it legitimately gets me hyped and primed to throw fists, and is over in 40 seconds. Perfection, frankly. And the penultimate "Paradox, Oh Paradox, Tolerant No More" somehow finds a whole 'nother level of blunt force that juxtaposes nicely with the closing "An Alarming Number of People Have Normalized the Taste of Leather," which feels like a reaffirmation of the album's central thesis, both sonically and thematically. But! At the end of the day, Grindcore Is Dead...Long Live Grindcore is not a listening experience that merits from discussing tracks on isolation. If you're listening to one track, you best be listening to 'em all. The diversity of sounds represented here makes it a thoroughly engaging listen.
Aberrant Extermination Impulsion has released a lot of music as of late, full stop. Three albums this year alone is nothing to scoff at, particularly when considered in the context of multiple releases crammed into the last few days of 2025. When faced with a display of prolific songwriting, I'm always tempted to wonder when inspiration will evaporate, when the vein will run dry. Not today, apparently. Grindcore Is Dead...Long Live Grindcore confirms that Aberrant Extermination Impulsion is as fresh and energetic as day one. I'm also very willing to assert that this is Matthew's best work under this moniker to date by a significant margin, which was frankly surprising how much I have loved (and hyped) previous releases. My lack of brevity is unbecoming; I'll wrap it up here. If this sounds enjoyable, and/or if you have enjoyed the embed, hit that preorder over on Ampwall. I also highly recommend checking out the entire Aberrant Extermination Impulsion discography. It is well worth the very small time commitment, and it's quite invigorating to see the sonic development play out in near-real time. Good stuff. 'Nuff said. Aberrant Extermination Impulsion - Grindcore Is Dead...Long Live Grindcore will be independently released March 13th, 2026. Find it here.
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 Written by: Blackie Skulless
Considering how much I absolutely hated the previous Megadeth effort, it’s no surprise that I had extremely heavy reservations going into what Dave and co. are calling their final record. Simply titled Megadeth, there is definitely an intentional vibe that makes a statement on its way out. Shortening the runtime, tightening the writing, and simplifying the formula was a great move. This makes room for more memorability in one track than The Sick… The Dying… And The Dead! could have hoped for in an hour’s entire time. For one, gone are the obnoxious samples, overly ambitious aims at technicality that go nowhere, and spoken-word bullshit that sounds like an edgy teenager that discovered war. In place are sharper rhythms that aim for a truly thrash metal sound, hooks that move with purpose, all under a clear dome that allows everything from the rumbling bass to Dave’s snarl to stand out. Thus, this is structurally pretty sound on paper, and I even dig some of the transitions. Swapping from a straightforward verse into the solos moves more smoothly than you would think throughout the album.  Written by: The Administrator
The words "wince and frisson" in combination immediately evoke a very specific physical reaction, simultaneously positive and negative and ultimately overstimulating in combination. What musical stimuli, I couldn't help but wonder, drives one to such a powerful physiological and somatic response? A level of curiosity this heightened doesn't often apply in the context of a band yet to release any music, but an intriguing moniker (and a Steve Wiener* association) are promo pit cheat codes. Needless to say, I was very excited when Wince and Frisson's debut disso-black/death single hit the inbox, and that excitement has only festered and grown over the course of many listens. "Kärrhäxan" is a stellar first foray, a sharply conceived and intensely executed statement of intent. It very much succeeds at the presumed intended goal of a debut single. 
Written by: The Administrator
On one level, I feel like my work here is already done, simply by benefit of typing the band name in the header. It kinda sells itself, no? With a band name like that--so visceral! so evocative!--what use is my humble endorsement? On another level, however, I like this album, and when I like an album, I like to write about it. And so here I am, bloated wordcount in tow. We slumbering scribes are excited to premiere today, in its entirety, Blood & Oil. This is the sophomore LP from Simon Bryant's "filthy" and "punishing" sludge metal/noise rock/crust punk/etc. project, and serves as the follow-up to Blunt Knife Castration's 2025 debut Live Fast Die Slow. And yes, the mere phrase "blunt knife castration" is enough to describe exactly what Blunt Knife Castration is all about. Sonically, thematically, and perhaps spiritually, the band is as grim and bloody and dark as you are likely imagining. This is gnarly stuff; sludgy and bituminous, filthy and snarling. Less-than-surgical and surprisingly experimental. Noisy and chaotic. Dark and often deliberately uncomfortable. If music can be described as ugly, Blood & Oil may very well be the poster child. Complimentary, of course. As a body of work, it ups the ante on noisy weirdness, and ultimately paints a pretty dark picture. Before I get too far ahead of myself, I must encourage you to give Blood & Oil a listen below! As always, we'll meet you on the other side.  Written by: Blackie Skulless
If your brain works anything like mine, your first instincts upon discovering this Spanish quintet would be Halloween III and a nod to KISS (going by Wicked Lester before 1973). Jokes aside, Wicked Leather is still pretty obvious with their schtick, and if the naming doesn’t give it away, the album art will. Spooky traditional metal deep in the occult themes with a somewhat safe formula delivered cleanly is an easy way to sum them up. Season Of The Witch is the outfit’s debut record, packing this into a digestible thirty-eight minutes. Don’t let the safe descriptor fool you though, because there’s an outlier amidst this. Vocalist Yami has a technique that I’d absolutely call an acquired taste and that I’ll at least call unique. It could be described as a hum-snarl that goes overboard on the nasal sensation, one that even after several listens is admittedly tough to get behind at times. Still, her voice weirdly matches the vibe, as musically this is a warmer take on the traditional style that prioritizes melody over meanness. To top this off, most of the songs take on a minor key, degrading the leads into something that feels equally welcoming and sinister, like the devil tricking you into his lair. 
Written by: Blackie Skulless
Five years ago, the U.S. heavy metal outfit Fortress launched a competent and somewhat promising debut full-length that otherwise seemed like another one of the many. This isn’t atypical for the traditional genre, as the safe style knows risks can either help or hurt a new band. Re-branding as Fili Bibiano’s Fortress in 2026 seems to have brought new flavors with it. Though the roots of what once was are still the same, the branches boast sweeter and more unique fruits this time around on the sophomore, titled Death Is Your Master. Switching out vocalists seems to be one of the first steps for two reasons. For one, Juan Aguila has a range that matches the stronger foundation that has amped up significantly since the first time around. Longer, drawn-out wails that maintain a cleaner aura still manage heavier nods without feeling threatening, and that’s about as balanced as a NWOTHM singer can get. Further, though this may be a psychological thought on my subconscious, changing a lineup like this after only one full-length prior seems to emphasize greater the role that the lead guitars play in this project as a whole. 
Written by: The Administrator
If you've been reading reviews here at ye olde Sleeping Village for a while now, you may remember (B)Easton Lane, who contributed some fantastic writeups back in our prolific '20-'21 era. He has continued reviewing on Instagram under the moniker LaneListens, and we had for all intents and purposes fallen out of touch...until last October, that is, when a very interesting promo email landed in the inbox. As it turns out, Easton is a guitarist and vocalist as well as a reviewer, and his intriguingly entitled band Trash Compactor has released a self-titled debut EP. While I initially and incorrectly assumed it was slam or brutal death metal band due exclusively to the name, the world of Trash Compactor is a little more extensive. Thematically, the band presents a story wherein we discover a wormhole to a (supposedly) barren wasteland located in another time. This portal serves as a convenient Disposal Pipeline for humanity's waste. I wholeheartedly enjoy the premise of an entire band being based on a singular sci-fi world from the moniker down. From a worldbuilding perspective, Trash Compactor have created an environment rich with narrative potential. And as cool as their unique world is, the music itself is certainly nothing to scoff at. 
Written by: The Administrator
My personal familiarity with LáGoon goes way back to the genesis of ye olde Sleeping Village. Back when we were reviewing music exclusively over on Instagram, the Portland-based project was dropping, at a very rapid clip, some excellent scuzzy 'n' fuzzy proto skater punk by way of garage-doom-stoner-psych-rock. They were raw and gritty and loose in a way that felt intrinsically fun above all else, exuding a punky ethos that thumbed its nose at the pastiche of polish for the sake of polish. And every new release was better than the last. While (I believe) we only every reviewed 2020's Father of Death in these less-than hallowed halls, I've followed their career pretty consistently over the years. As such, it felt somewhat providential that LáGoon's PR should reach out asking if I was interesting in premiering a track--a track that, I quickly discovered, I had actually heard in primordial form back in 2018. "Kill The Messenger," today's song in question, appeared on an EP that has since been removed from streaming. I immediately recalled that "Kill The Messenger" was my favorite from said EP, and was pleased to see (and hear) that it has been reworked, reimaged, and otherwise been brought up to the current LáGoon standard. We're pleased to present "Kill The Messenger" below a day before its official release on Feb. 18th. Give it a listen below! As always, we'll meet you on the far side of the fold. 
Written by: The Administrator
In the past, I (lovingly) equated listening to Disgustingest, Colorado's premiere brutal slamming deathgore band, to the experience of "enduring a fecal sludge aerobics class while the instructor simultaneously pummels you with cinder blocks." The short and lavatorial Purging Suppuration, released in June of 2025, was a very strong instruction to Kendrick Lemke's brand of gross-out brutality, and despite all of the seemingly negative words I used to describe it, I anxiously awaited more. Luckily, the wait was relatively short-lived. Disgustingest's second EP Coagulating Putrescence will be released February 20th via Paper Wings Records, and the morbidly curious good taste havers amongst ye can check out the single "Digital Cyst" now. Must like the debut EP, Coagulating Putrescence is as brisk as it is gross. 5 tracks, 11 minutes. I'm also pleased to announce that this sophomore Disgustingest outing may very well be more disgusting-est than the first, which, in and of itself, is quite an accomplishment. That said, it feels oddly more refined, with clear care apparent in the songwriting. It's not entirely overwhelming in its titular putrescence; a surprising variety of engaging moments abound. The occasional ambient elements are a nice touch. There's a potent head-nodding groove that permeates, and the closing track "Fragments of the Self" sheds a little of the slamming brevity in favor of some slightly longer form and--dare I say?--progressive composition. Coagulating Putrescence is a gnarly banger across the board, a prime demonstration of the efficacy of snappy and well-constructed brutality. This is exactly the kind of follow-up release I was hoping for from this project, and while brutal slamming deathgore doesn't exactly attract a sizable audience by any metric, I hope this EP turns some heads. 
Written by: The Administrator
When promo for Death Throes of a Drowning God, the new EP from Austria's GUYOÐ, hit ye olde inbox, I was suitably intrigued. The title aught my attention, the seasick churn of the artwork reinforced my suspicions, and a quick look at their back catalog had me suitably hooked before even pressing play Why, exactly? I'm a sucker for a lot of things, musically speaking, but for things that are overt oceanic--as is GUYOÐ's oeuvre--I'm the biggest sucker of all. When vacationing near the sea, I am liable to spend ever single second in the water. I'm not a great swimmer, but I can tread for days. My wife thinks that someday I won't come out, and I agree that she might be on to something there. The call of the abyss is a genuine siren's call, and I think I'd be fine, actually, living down there with the lobsters and the fishes under a reef, lungs be damned. Actual marine environs aside, I have an overt and fierce love for oceanic metal. Throw waves or a lighthouse or an octopus or a big fish eyeball on the cover and I'm diving in, no questions asked. Metal that seeks and strives to capture a mere fraction of the sea's majesty, power, and near-mythical unknowability is tantalizing. It draws me, riptide-like. I'm pleased to say that GUYOÐ have joined the amorphous pantheon of oceanic metal notables with this latest. Their dark blend of black, death, and doom metal is appropriately heavy and morose and bleak. Though the use of both ambient interludes and unpredictable songwriting, Death Throes of a Drowning God feels far more vast than its 29 minute runtime might indicate. It is just unapproachable enough to inspire the kind of curiosity that drives one to swim a little too deep. |
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