Melt-Banana

Bologna Violenta is the noise/electrogrind project of Treviso violinist and multi-instrumentalist Nicola Manzan, founded in 2005. Early releases built distorted guitar, strings and electronic drums around samples from 1970s Italian poliziottesco cinema; the project expanded into a duo in 2015 with drummer Alessandro Vagnoni and later shifted toward violin-led arrangements on Cortina (2017) and Bancarotta Morale (2020), with 2026's OBLOMOVISMO returning to its cybergrind roots. Manzan has also worked as a sideman for Baustelle and Il Teatro degli Orrori and collaborated with J. Randall of Agoraphobic Nosebleed.

Angelwings Marmalade is Angel Marcloid's noise/cybergrind outlet — the looser, harsher counterpart to her better-known blackened-new-age project Fire-Toolz. Where Fire-Toolz builds structured genre-collage songs, Angelwings Marmalade leans into harsh noise, musique concrete, noisecore and cybergrind textures, often stitched together from years of accumulated source material and guest vocal/sample contributions. It's one of several aliases (alongside MindSpring Memories, Nonlocal Forecast, Toad Computers) through which Marcloid works out a specific corner of her sound.

Vortices Are Born.exeplay in the dock

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Phantomsmasher is a glitch-grind / digital-hardcore project led by guitarist James Plotkin, previously known as Atomsmasher, that fuses grindcore with electronic noise and cut-up programming. The trio of Plotkin (guitar, bass, electronics), vocalist DJ Speedranch, and drummer Dave Witte released their self-titled album on Mike Patton's Ipecac Recordings on August 19, 2002. Plotkin is a prolific experimentalist also known for OLD, Khanate, Khlyst, Jodis, and Scorn.

Frontierer are a transatlantic project — Pedram Valiani writing in Edinburgh, Chad Kapper screaming in the USA — who built mathcore out of material the genre normally keeps at the door. The riffs are Dillinger-shaped and the meters never settle, but the tone is the point: whammy-pedal sirens, digitally mangled guitars, and interludes of what Heavy Blog Is Heavy called 'filthy glitch-ridden drum and bass' and 'twisted and glitchy electronica'. The same review names them 'a furious nexus point between mathcore, noise, sludge and glitch electronica', which is about as close to a genre as they get. Where their peers use electronics as an intro or an outro, Frontierer run the guitars themselves through the broken-machine treatment until riff and glitch stop being separable — the band's own phrase for it is 'Transatlantic Noise Terror'.

Monastat 7 was a Cheyenne, Wyoming grindcore trio whose 1993/94 debut 'Now Available Without A Prescription' — produced by Dan Lilker of Brutal Truth and reissued on Relapse — paired technical cybergrind riffing with heavy sampling, comedy/rap interludes and skits (a track built around a grocery-store clerk's price-check announcement over the PA). The lineup leaned into avant-garde instrumentation for a 1993 grind band, with Henkaboo E. Boltz credited on guitar, programming AND violin alongside Dr. Stat3's bass/keyboards. A 1995 follow-up EP, 'Operatic Genitalia Of 7 Bowel Movements,' continued the project on the same Japanese DIY label, Lost Frog Productions.

My Corner of Lifeplay in the dock

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Tub Ring is an experimental rock band formed in Chicago in 1992 and built around the enduring core duo of vocalist Kevin Gibson and keyboardist Rob Kleiner. Their frenetic, hairpin genre-swerving sound — colliding punk, new wave, noise, funk and electronics under sci-fi and cosmological lyrics — earned them a reputation as a kind of Midwestern Mr. Bungle, a comparison sealed when Bungle guitarist Trey Spruance produced their 2001 debut Drake Equation. Their concept-driven album titles (Drake Equation, Fermi Paradox, Zoo Hypothesis, The Great Filter) riff on theories about extraterrestrial life.

Impress Your Creatorsplay in the dock

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Dead Cross is a Southern California crossover-thrash/hardcore supergroup formed in late 2015, uniting drummer Dave Lombardo (Slayer, Fantômas, Mr. Bungle), bassist Justin Pearson (The Locust, Retox), and guitarist Michael Crain (Retox). The Locust's Gabe Serbian was the original vocalist but left after the debut was recorded; Mike Patton replaced him in December 2016, rewriting the vocals over the existing instrumentals. The band has released two albums via Patton's Ipecac Recordings — the self-titled debut (2017) and II (2022) — delivering short, violent blasts of thrash and hardcore punk.

Grave Slaveplay in the dock

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Patau is a Boston, Massachusetts noise/industrial project self-described as 'experimental electronic hardcore techno industrial metal noise,' with Rate Your Music tagging it Avant-Garde Metal, Power Noise, and Experimental. Releases include Krrrenž (2018) and Not One, Not Some, Not All (2021), delivered with confrontational, anti-capitalist framing.

San Diego's insect-costumed answer to the question of how much chaos fits in thirty seconds: The Locust fused grindcore and powerviolence velocity with squealing new-wave synths, delivering albums like Plague Soundscapes (2003) as swarms of sub-minute songs with abrupt, inconsistent time-signature changes. On stage the quartet performed in skin-tight full-body nylon insect suits, lined up across the front of the stage like a hive presenting itself. Formed in 1994, the band dissolved in 2022 after the death of drummer Gabe Serbian, leaving a body of work The New York Times framed by declaring that if noise-rock had superheroes, The Locust would surely be among them.

Live From the Russian Compoundplay in the dock

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Inferno Sci-Fi Grind'n'Roll was an Italian grindcore/mathcore band from Rome, active 2002-2012, founded by five friends with disparate musical influences. Signed to Subsound Records, their sound mixed distorted, metallic grind/mathcore riffing with 'electro-noise sonorities' and unexpected quieter 'roots'-inflected passages, wrapped in sci-fi/pop-culture conceptual song titles.