Grindcore emerged as a backlash to global capitalism, before Pig Destroyer did something much nastier with it. As they release an album that deals with our harrowing modern era, Dan Franklin examines whether this ferocious genre is actually being outstripped by a remorseless new reality. All Pig Destroyer pictures by Joey Wharton
Manchester’s Mandy, Indiana haver never sounded so direct, so fierce, so angry as on this, their second album, a record which forcefully calls out rape culture and toxic masculinity amidst racing polyrhythms and a barrage of noise
In the first edition of a new series exploring underground and left-field music from North America, Natalie Marlin delivers an insider's guide to the frantic, uninhibited and queer-driven energy of the Minneapolis–Saint Paul underground, and picks out five essential new releases from the cities' most exciting artists
Perturbed by a study that found young women in the north of England are struggling to feel musical, Lottie Brazier set out to speak to the promoters, artists and managers who are helping shift the dial in the region
As they return from a 26 year studio hiatus sounding fresher than ever, Prolapse speak to Derek Walmsley about the benefits and pitfalls of defying the 90s mainstream, self-sabotage, empathy with the downtrodden and the growing spectre of mortality
Mary Epworth's Twitter profile is three words long. It reads 'I like hares'. Here, the singer-songwriter and self-confessed "wildlife-obsessive" talks to John Freeman about the "otherworldly, but hugely misunderstood" mammal.
In their very first interview about a new album of protest songs, The Specials' Terry Hall, Lynval Golding and Horace Panter speak to Patrick Clarke about how political music and the energy of Black Lives Matter lifted them from pandemic-enforced inertia