“…HOUKAGO GRIND TIME is not only legitimate goregrind, it’s masterful.” – Invisible Oranges
Invisible Oranges is currently hosting a stream of “People Die When They Are Killed,” the new single from HOUKAGO GRIND TIME’s second album, Houkago Grind Time 2: The Second Raid, which sees release next week.
HOUKAGO GRIND TIME is the solo mincecore/goregrind act of Andrew Lee (Ripped To Shreds, Andrew Lee’s Heavy Metal Shrapnel, Skullsmasher). With Lee handling the performance, recording, and mixing of all primary instrumentation at his at Weeb Dungeon studio, Houkago Grind Time 2: The Second Raid features guest appearances from Tapo (First Days of Humanity), R. Mason (Enemy Soil, Reeking Cross), Larry Wang (Coprocephalic, Gorepot, Fatuous Rump), Pharmacist (Pharmacist), Keijo Niinimaa (Rotten Sound, Goatburner), and Dan Ryckman (Archagathus), and the final product mastered by Colin Marston at Menegroth, The Thousand Caves. With cover photography and design by Lee, the record was complete with logo by Tom Maher/ Skullbastard Art and layout by Shawn Vincent/Obscure Visions. Fans of Agathocles, Dead Infection, Mortician, Nasum, Regurgitate, Enemy Soil, and Last Days Of Humanity should not miss HOUKAGO GRIND TIME.
With the release of “People Die When They Are Killed,” Lee writes, “In the immortal words of Nasu Kinoko, people die when they are killed. Life is precious and please observe good hygiene and public health practices for the safety and wellbeing of all. This song features the assblasting low gurgles of Larry Wang, a fellow Taiwanese most known for his bands Gorepot, Coprocephalic, and Fat Tub of Lard Records, guaranteed to make you shit your pants.”
Invisible Oranges writes with their premiere of the track, “…HOUKAGO GRIND TIME is not only legitimate goregrind, it’s masterful. Reveling in the pure chaos of frenetic blast beats, split-second changeups, and vicious riffs built for neck-snapping mosh action, the band’s new album Houkago Grind Time 2: The Second Raid follows up a slew of splits with an emphatic new chapter of maniacal grind.”
HOUKAGO GRIND TIME’s “People Die When They Are Killed” is now playing through the Invisible Oranges portal RIGHT HERE.
Houkago Grind Time 2: The Second Raid will be released next Friday, November 4th, digitally by Lee’s Outrageous Weeb Power Productions who will share duties on the LP pressing with To Live A Lie and Grindfather Productions, with Obliteration Records handling the CD release, and Acid Redux Productions issuing a cassette version.
The first HOUKAGO GRIND TIME 2019 demo proclaimed Andrew Lee’s mission to “save the world by overloading it with mincegore,” and in a scant three years he unleashed a flurry of demos, EPs, and splits with underground grind stalwarts such as Deterioration, First Days Of Humanity, and Blue Holocaust, through Andrew’s self-run label Outrageous Weeb Power Productions, as well as the first album, Bakyunsified (Moe to the Gore), released through Grindfather Productions.
Although the initial concept of HOUKAGO GRIND TIME focused only on the power of friendship, the cuteness inherent to moe anime, and the value of one’s waifus, the inevitable descent of the world into greater chaos led Lee to address more pertinent and serious themes in his new album, Houkago Grind Time 2: The Second Raid, as well a heretofore novel element to the band: real lyrics. “It’s Time To M-M-M-Mince” serves as a scathing rejection of the vagaries of capitalism in the animation industry, while “People Die When They Are Killed” extols the virtues of masking up and staying isolated.
The sonics of the album also benefit from a marked increase in quality; no longer content to utilize the screeching, squealing, feedback of typical raw grind recordings, every element of the acoustic drumkit was meticulously recorded with Lee’s experience gained from producing the Relapse debut of Ripped To Shreds. Blastbeats soar by with greater speed than ever before, yet every cymbal or snare hit shines in total clarity. The kick drum throbs and pounds with urgency, supported by a bone-crunching low sludge of drop-Z-tuned guitar and bass. The sewer filth of pitchshifted vocals ties the fetid package together, with Colin Marston’s expert mastering serving as the cherry on top.