All posts by Andrew Edmunds

Last Rites Co-Owner; Senior Editor; born in the cemetery, under the sign of the MOOOOOOON...

Blast Rites #1: Nak’ay / Hate For Humanity – Split 12″ Review

Blast Rites: because grindcore rules. Author’s Note: Hey, look at that, will ya? I’m trying something new here, taking our established Fast Rites short-form review concept and applying it to my obsession with all things

Backslider – Psychic Rot Review

At the place where Powerviolence Alley runs into Grindcore Blvd, just between Hardcore Street and Sludge Avenue, a block or three from Psychedelia Place, there’s a dingy basement rehearsal space filled with smoke and cockroaches

Blockheads – Trip To The Void Review

Fast Rites: because sometimes brevity is fundamental. At the risk of repeating myself (as if this would be anywhere close to the first time for that), France’s Blockheads are far and away the best grindcore

Best Of 2021: Andrew Edmunds: Last Night, I Crossed The Road, Walked Into A Bar, And Changed A Lightbulb. I Feel Like My Whole Life Is A Joke.

So, hey, you remember last year when everyone said “Next year will be better”?  Well, I guess this year was better than last year — at least, comparatively. But it was still a rough year

Worm – Foreverglade Review

There’s an odd inversely proportional relationship between the clarity of Worm’s logo and the clarity of — or at least, the quality of — their musical output. On their (then, his) first record, 2017’s Evocation

U.D.O. – Game Over Review

Part of me wants to say something like “It’s surprising that, forty-something years into his career, Udo — and by extension U.D.O. — is still cranking out albums as good as Game Over and making

Tentation – Le Berceau Des Dieux Review

They say French is the language of love and romance. Which is probably why I don’t speak it very well. HEY-OH! Thanks. I’ll be here all week. Try la ratatouille… But soyons sérieux, folks, if

Razoreater – Purgatory Review

These British blasters celebrate their decennial this year, ten years of ferocious death-tinted grinding, even if they’ve been relatively silent for the last half of that. But five years out from 2016’s Vacuum Of Nihil