Brooklyn hardcore outfit Cash Bribe are back with a vengeance, unveiling their third EP Demonomics on June 13, 2025, via Futureless. This marks the band’s debut release with the label, and they’ve never sounded more vicious, precise, or relentless.
The EP’s title track, ‘Demonomics’, is now streaming everywhere—an absolute sonic assault that sets the tone for what’s to come.
Hear it here:
Brooklyn bruisers Cash Bribe are back with their third EP, Demonomics, dropping June 13, 2025, via Futureless. This marks their first release on the label, and they’ve never sounded louder, sharper, or more furious.
Leading the charge is the blistering first single, ‘Death Tax,’ now streaming everywhere.
Listen now:
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Of the single vocalist Joe Dahlstrom: says, “’Death Tax’ comes from thinking about entropy and decay. Nature can be cruel, violent, and indifferent — the suffering seems pointless — but accepting and understanding the terms of our existence comes with a certain viriditas, an empowering vitality to approach it head-on.”
Guitarist Kirk McGirk adds, “This one made it into our live sets pretty quickly – people would respond to it pretty well, and we like when we do something that makes people move.”
RAT LORD, the Norwegian trio known for their ferocious energy and tongue-in-cheek approach, is back with a brand-new single, ‘Now Diabetical’.
“If you dig the idea of grindcore and powerviolence while poking fun at black metal, Rat Lord is gonna be your new favorite band,” says Decibel scribe Addison Herron-Wheeler about this unorthodox Norwegian act.
Following the success of their debut album This Is Not A Record, Rat Lord returns with the brilliantly titled Blazed In The Northern Sky. The band—comprising guitarist/vocalist Yngve Andersen, drummer Sigurd Haakaas (both from Blood Command), and bassist Martine Green—continues to push boundaries with their unique blend of powerviolence and grindcore.
The full album is set to drop on August 30th via Loyal Blood Records, but you can get an early taste of the chaos with the new track ‘Now Diabetical’ here:
The band comments: “‘Now Diabetical’ is a song about eating healthy, so you don’t catch diabetes type 2, which is a big problem for some. The title may or may not be making fun of Satyricon’s ‘Now Diabolical.’”
The follow-up to the band’s 2022 debut album This Is Not A Record, sees RAT LORD churning out the same gritty and destructive powerviolence/grind sound that received strong praise from various publications along their humorous lyrical content, this time parodying some of the most famous songs and events from the Norwegian Black Metal history, the album title for instance clearly nods at Darkthrone’s A Blaze in the Northern Sky.
Panurus Productions – 15th July 2022
Christopher Nosnibor
In a world where there’s so little that you can rely on, knowing that there are some labels that can be taken as a measure of quality provides a much-needed reassurance that not absolutely everything is shit. Panurus is one of those labels, along with Cruel Nature, Bearsuit, and Human Worth, that provides an unwritten guarantee that if they’re releasing it, it’s worth hearing. And what’s particularly pleasing with all of these labels is that they’re not genre-specific. Human Worth may lean toward guitar-driven noise, while Bearsuit favour genre-straddling avant-gardism, but ultimately, these little labels put out stuff that they like and find interesting, and this is healthy, in that it provides a platform for a diverse range or acts and fans to connect.
Trauma Bond’s The Violence Of Spring is in fact a reissue, having been originally released by Digital Destruction in the US just over a year ago, in a limited run of twenty-five hand-stamped pink neon tapes. Panurus have retained the original design, but rotated the image to replicate the band’s own digital release, which makes more sense when you study the flows off blood down the face. It’s not a pretty over, but it does very much provide a fair visual representation of the ‘raging grindcore/powerviolence/noise onslaught’ it houses.
As their biography summarises, ‘Trauma Bond is the conception of Eloise Chong-Gargette & Tom Mitchell – blending a shared love of violence, noise and metal to concoct a visceral exploration of aggression’. I mean, who doesn’t love violence, right? I am being sarcastic and, indeed facetious, and should perhaps reiterate here that both makers and fans of the most brutal music tend to be among the gentlest, most docile people I’ve encountered. The music is the outlet for everything they aren’t in the every day. With the exception of Marilyn Manson and Genesis P. Orridge, it’s the bland indie types who are more likely to be the real scumbags, and likewise their fans. This is the long way of saying that there’s violence, and there’s violence.
The original notes pitch ‘a furious onslaught of razor-sharp, disorienting grind; that darts between blasting intensity, to dirge, to industrial noise, and back again before you’ve realised what you’ve been hit by.’ And that’s exactly what The Violence Of Spring delivers, packing nine brutal sonic assaults into twenty minutes.
It all begins with an ominous roll of thunderous rumbling, the fifty-seven-second ‘O.C.B.’ building a tension and suspense that’s devastated with the explosive treblefest of ‘the title track, where everything piledrives in at a hundred miles an hour, from the flurry of guitars, the machine-gun drumming and screamy vocals, and from hereon in there’s not much let-up. There are samples galore – seemingly of panic-stricken crowds and people in streets where accidents, explosions, and shootings have just taken place. And The Violence Of Spring is simultaneously a drive-by and a hit-and-run that concludes with a suicide bombing.
They swing into black metal on ‘Total Fermentation’, and this is a dank brew, unfiltered and thick with sediment, and headcrackingly potent, while on ‘Daddy Do’, it’s more barking, guttural grindcore than anything else, and fuck me, it’s savage. One of the album’s two longer tracks, ‘Double Denim Dissociative Disorder’ which runs past the four minute mark against the usual minute and a half, is a grating wall of distortion, a churning landslide of sludge that slowly sinks into a spent crackle. Sandwiched between this and the finale, the overloaded tempo-shifting blast of demonic fury that is ‘Syndrome Imposter’ is ‘Little One’, a pained blast of metal anguish that’s delivered with remarkable and unexpected clarify, particularly in the vocals.
Nothing about The Violence Of Spring is gentle, but it hits all the harder on account of its comparative range. Yes, it’s all metal, but The Violence Of Spring is all the metal.
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Aural Aggravation 