Grindcore/blackmetal band from the midwestern industrial regions, extremely simple but effectively rhythmic.
flag of the United States Cianide - The Dying Truth (1992)
Cianide - A Descent Into Hell (1994)
The Dying Truth

Production: Greyed out and thin, but underneath the distance carrying a morose richness to bass tones.

Review: With falling oblique slabs of chords like darkness invading an evening room, Cianide make basic grindcore into a science of sustained tension between essentially rhythm riffs that resolve into a complement of the fragmentary modality of linear structure. Its rise and fall, like the twisting deck of a ship in a slow building storm, creates an almost comforting morbidity behind some of the more sudden structural shifts.

As burrowing convergences upon the modality of silence, songs wind to an impassible entropy and decay, dropping swiftly in the explanation of their themes. Part of the grindcore heritage of this work shows in three-chord simple riffs that often use rhythm alone as their resolution, where even the shuddering slowness of structural expression and destruction can benefit from the versatile fusion of idea and chromatic melody.


1. Mindscrape (5:28)
2. Human Cesspool (3:24) mp3 sample
3. The Suffering (4:08)
4. Scourging at the Pillar (5:07) mp3 sample
5. Crawling Chaos (5:59)
6. The Dying Truth (5:18)
7. Funeral (5:44)
8. Second Life (6:34) mp3 sample
Length: 41:44

cianide the dying truth
Copyright © 1992 Red Light

The expression of the work, like sculpture, is crude at first but the unrefined directness it exudes forms the basis of its atmosphere, echoed in the almost warlike percussion of phrases slamming home to basic but vitally relevant tone centers. The encroaching, enduring stagnation of sound and conditioning of the ear to find monumental repetition appropriate provides a tonal backing to vocal and string texturing further shaping the sound, pulling space from within the cavernous collisive power chord easy chair riffs to inject detail and fragmentation into the mixture.

This aesthetic winds its attractiveness through its direct and absolute conclusivity and powers the songs through tensions brought about by concrete expression and not its opposite, but this does not hamper the grinding aspirations of doom breathing from every pore. Encouraging the growth of the genre at the same time leaning toward regressive metal influences (Venom and Hellhammer), Cianide extrude the horror and gore of bands like Carcass and transform it into a vision of enduring pain with the grinding, contextless, loveless riffs of a postmodern age stitching it home on the seam of the brain of the listener.

A Descent Into Hell
Red Light

Production: Deliberately muddy, sludgy, organic-metallic.

Review: Regressing from grindcore aesthetic into doom metal of a moribund nature, Cianide hybridize total minimalism in power riffing with resonating tunnels of concentric reductive oscillation in the oldest style of heavy and somewhat abstract but mostly gritty and nasally organic heavy metal rock. In bludgeoning power chords and guttural evaporations of slowly disintegrating vocals this band use the inspiration of influences Venom and Hellhammer to create thunderous and deliberately simplistic and deconstructive music in a cross-section of style between death metal, heavy metal and biker rock.


1. Gates of Slumber (3:35)
2. Eulogy (6:07) mp3 sample
3. The Undead March (3:14)
4. The Luciferian Twilight (5:46) mp3 sample
5. Beyond the Fallen Horizon (6:00)
6. Darkness (6:03)
7. Death Dealer (2:03) (Slaughter cover)
8. Mountains in Thunder (7:49) mp3 sample
9. Scourging at the Pillar (remake from The Dying Truth) (4:35)
Length: 45:14

cianide a descent into hell 1994
Copyright © 1994 Red Light

While most associate the doom genre with a depressive mood, this death metal-grindcore hybrid indulges -- as did the greats like Obituary, Infester and Gorguts -- in an abstract and biological sense of depressant motives, which means a melancholy that slows engagement with the world and encourages the listener to look within, where paradoxically, our representation of the world lives and so does our knowledge of the external. Riffs from this style could be compared to Bolt Thrower because they use longer phrases anchored in repeated patterns at different harmonic locations, in order to achieve a vertiginous and constant sense of immersive detachment.

Carved in rhythm songs are shapes which reflect the mood of descent, inverting itself asymmetrically for a return which inspires or destroys with the mood of a petulant minor god. Acerbic resounding power chord tumble riffs sluggishly engage a collision battery of degenerate recumbence and rise in geometric archangel opposition to the predominate declination, waiting in undulating poise before the waves of history rise in a phenomenon of resound and bring about venal downfall. Hedonistic in spirit and assertive in the metallic art of riff shaping as a means of coordinating mood to shape and motion of phrase, this release breaks no (0) new ground yet provides a forum for the raw spirit emerging within metal to speak at least its defiance and irrefutable aesthetic.

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