HOUKAGO GRIND TIME: Decibel Magazine Streams Houkago Grind Time 2: The Second Raid, The Second Album By Grindcore/Mincecore Solo Act Of Ripped To Shreds Guitarist; Record Drops This Friday

Decibel Magazine is hosting an exclusive listening party for Houkago Grind Time 2: The Second Raid – the second album from the solo mincecore/goregrind act of Andrew Lee (Ripped To Shreds, Andrew Lee’s Heavy Metal Shrapnel, Skullsmasher) – ahead of its release this Friday.

While HOUKAGO GRIND TIME sees Andrew 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.

Lee states, “I hope everyone is enjoying the current Fall 2022 season of anime. It’s been a good time for second seasons with SpyxFamily and Uzaki, but the AOTY is definitely Bocchi The Rock. That being said, Houkago Grind Time S2 is no slouch in this department either. Here in the Weeb Dungeon the whole team has poured their sweat, tears, and money that was supposed to go towards pulling gachas and simping for v-tubers into the second full length offering from HGT. We sincerely extend our thanks to the worldwide grindcore family and those who are prevaricated to floccinaucinihilipilificate us.”

Decibel writes with their early stream of the slamming album, “…it’s a tribute to all things grind, heavy, and anime. For anyone who wakes up first thing in the morning lifts weights, listens to brutal music, and watches anime fight scenes, this is the soundtrack you need to be blasting.”

Deploy HOUKAGO GRIND TIME’s entire Houkago Grind Time 2: The Second Raid now via Decibel Magazine RIGHT HERE.

Houkago Grind Time 2: The Second Raid will be released this 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. Find current preorder/presave options at Bandcamp HERE, at Acid Redux HERE, and Spotify HERE.

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.