Phantomsmasher

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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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'.

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.

OLD (an acronym for Old Lady Drivers) was a New Jersey band formed in 1986 by James Plotkin and Alan Dubin out of the remains of Plotkin's grindcore act Regurgitation, releasing its self-titled debut of tongue-in-cheek grindcore on Earache Records in 1988. Across subsequent records the group shed its grind roots for avant-garde and industrial metal on Lo Flux Tube (1991) before shifting almost entirely into techno, industrial and electronica on its final album Formula (1995), by which point OLD had contracted to a Plotkin/Dubin duo. This dramatic grind-to-electronic transformation makes OLD an era-split candidate in the atlas. After OLD dissolved, Plotkin and Dubin went on to form the experimental doom band Khanate.

Melt-Banana is a Japanese noise-rock band formed in Tokyo in 1992, built around vocalist Yasuko Onuki's rapid-fire, high-pitched yelp and guitarist Ichiro Agata's surgical, effects-drenched noise assault. Blurring grindcore velocity with electronic glitch, pop hooks and pure sound-sculpture, they became one of the defining bands of a new Japanese hardcore, finding a bigger audience abroad than at home. John Zorn captured them for his Tzadik label on the 1998 live album MxBx 1998/13,000 Miles at Light Velocity, and their relentless touring saw them open for Mr. Bungle, the Melvins, Fantômas and Tool.

The Hiveplay 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.

Gigantic Brain is a Virginia-based cybergrind project started by John Brown in the early 2000s as one-man, drum-machine-powered electronic grindcore, later expanded into a duo with producer/multi-instrumentalist Mastin Simmons in 2012. Wikipedia credits it as 'one of the original pioneers of the cybergrind subgenre,' with a catalog running from chaotic, densely layered electronic grind (The Invasion Discography, 2004) toward the industrial/doom/ambient-leaning textures of the 2016 self-titled album. Released mostly through Razorback Records and Grindcore Karaoke, with absurdist lyrical themes layered over extremely dense production.

Genghis Tron is an American experimental metal band formed in Poughkeepsie, New York in 2004, originally a trio blending cybergrind/mathcore with electronic and synth-driven textures using a drum machine rather than a live drummer. After releasing Board Up the House (2008) on Relapse Records, they went on indefinite hiatus in 2010. The band reunited and released Dream Weapon in 2021, a more meditative and hypnotic record featuring founding members Hamilton Jordan and Michael Sochynsky alongside new vocalist Tony Wolski and, for the first time, a live drummer, Nick Yacyshyn of Sumac.

Dream Weaponplay in the dock

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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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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.