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Smashing grind conception. - 95%

tshred666, October 21st, 2012

The more and more I delved into the realm of grindcore, the more I realized it's not an entirely accurate label for Pig Destroyer. Hell, the overtones of sludge, groove, and post-hardcore would beg that this isn't really grind. In fact, this sounds more like 90's metalcore and post-hardcore played with the frenzy and bravado of Cryptopsy and early Kataklysm. And to add to the fact that they did splits with the sludge/experimental band Isis and the post-hardcore band Orchid as opposed to splits with crust and grind bands.

Just looking at the majority of the riffs, instead of punk-ish, chromatic frenzies, we get a dissonant mish-mash of Pantera, Kreator, eyehategod, Melvins, and whatever stew of post-hardcore these guys were jamming to in the 90's. The only thing that keeps this pinned down to the style pioneered by Napalm Death and Repulsion is the short song length, but song length really doesn't make a difference between genres in my opinion. What makes a genre is the overall sound and organization. Plenty of doom and prog bands write songs that are generally several minutes long, but I think we all can agree that bands like My Dying Bride and Paradise Lost are a world apart from Dream Theater and Fates Warning.

And another thing that separates this from the normal grind mold is J.R. Hayes' post-adolescent poetry and high, piercing wails. Where most grind vocalists prefer a deep, percussive bark sprinkled with the occasional high vocals, Hayes opts for predominately high pitched yells with the occasional low growl. And also where most grind would either focus on political or anatomical matters, this band provides a very distorted perception of isolation, sexual violence and perversion, and interpersonal relationships. Based on the album cover and album title, one would expect a wholly explicit gorefest played with proper Regurgitate inspired gusto, not a stew of multiple genres and a journey into an abyss of insanity.

For those expecting a resurrection of Jesse Pintado or a second generation Bill Steer in Scott Hull, you will be very disappointed, but for those that have an affinity for the obtuse and experimental, this is definitely an album to check out.