Pornogrind is an area of extreme music in which the sound of goregrind and the wider grindcore field is tightly bound to expression dealing with sex, genitals, sexual acts, pornography, and sexual insult—through song titles, cover imagery, stage names, samples, and the like.
The most important point comes first: it is difficult to define a decisive, distinctive sound that would allow pornogrind to be consistently told apart from goregrind by ear alone. Pitch-shifted low vocals, mid-tempo grooves, and simple repetitive riffs are frequently heard in pornogrind, but they are just as common in goregrind. If you hid the covers and song titles and listened only to the music, many releases could not be sorted into goregrind or pornogrind.
So what makes it “porn”? The clearest answer comes from the German band GUT, which is treated as a key reference point in the history of pornogrind.
Between the early and mid-1990s, GUT used blatant release titles such as Spermany’s Most Wanted, Pussyfied / Assyfied, Hyper-Intestinal Vulva Desecration, Twat Enema, and Fistful of Sperm. These are also listed as the band’s early discography in a 2017 interview with GUT themselves. Their song titles include Sperminator, Intestinal Cumshot, Dead Girls Don’t Say No, Vagina Berserker, Pussy Grinder, and Anal Sushi, and the members went by sexual stage names such as Organic Masturbator of 1000 Splatter Whores, Spermsoaked Consumer of Pussy Barbecue, and Torturer of Lacerated and Satanic Tits.
In other words, the “porn” in pornogrind does not necessarily refer to a particular guitar technique or rhythm. This ambiguous genre becomes much easier to understand if you approach it as the construction of a body of work in which sexual language, cover imagery, characters, samples, and so on are combined with a musical vocabulary shared with goregrind.
The Characteristics of Pornogrind at a Glance
The characteristics of pornogrind are easiest to grasp when sorted into three levels: those close to a definition, those that are frequent but not essential, and those shared with goregrind.
| Type | Characteristics |
|---|---|
| Close to a definition | Release titles, song titles, covers, and imagery dealing with sex, genitals, sexual acts, pornography, sexual insult, etc. |
| Frequent | Sexual audio samples, pitch-shifted low vocals, mid-tempo grooves, simple repetitive riffs |
| Shared with goregrind | Blast beats, gurgling vocals, downtuning, short songs, lo-fi recording |
Distinctions such as “it’s pornogrind because it’s mid-tempo” or “it’s pornogrind because it uses a pitch shifter” therefore do not hold. It is closer to the reality to think of sexual themes and imagery as the key identifying element, with certain musical tendencies layered around them.
Goregrind vs. Pornogrind: What Is the Difference?
The difference between the two tends to show up less in the sound than in the themes of the work.
| Aspect | Goregrind | Pornogrind |
|---|---|---|
| Main subject matter | Pathology, decay, corpses, dissection, medicine, horror | Sex, genitals, sexual acts, pornography, sexual insult |
| Covers | Pathology photos, corpses, decay, medical imagery, etc. | Sexualized bodies, pornographic or fetish imagery, etc. |
| Song titles | Medicine, pathology, decay, corpses, etc. | Genitals, semen, sexual acts, sexual violence, etc. |
| Samples | Horror films, dialogue, medical material, etc. | Sexual audio is sometimes used |
| Vocals | Gurgles, growls, processed voices | The same; low pitch-shifted voices are sometimes prominent |
| Rhythm | Wide range, from blasting to mid-tempo | The same; some bands emphasize groove and mid-tempo repetition |
| Identifiable by sound alone | Sometimes difficult | Sometimes difficult |
In goregrind, the human body is broken down into blood, flesh, organs, decay, disease, and corpses. In pornogrind, that body is further given meaning through genitals, sexual acts, sexual desire, sexual insult, and the like.
The two are not fully separate, however. Some subject matter—necrophilia, scatology, sexual violence—sits on the border between gore and sex. To understand pornogrind, then, you need to look not only at “what it sounds like” but also at “what it presents, and through what words and images.”
Goregrind itself is explained in detail in “What Is Goregrind?”.
What Exactly Was “Porn” About GUT?
Looking at this concretely is the clearest way to understand what the name “pornogrind” means.
In 1991, GUT Was Still Strongly Continuous with Goregrind
In 1991 GUT recorded the demo Drowning in Female Excrements. Its track list includes Bathed in Virgin Blood, Art of Butchery, Confessions of a Necrophile, Morbid Pathology, and Drowned in Blood.
At this stage, sex was not yet the theme dominating the work as a whole; the gore/death metal vocabulary of blood, butchery, pathology, and corpses stands out more. It is not accurate to think that GUT suddenly perfected “a new music dealing only with porn” in 1991.
GUT started from the bodily expression of gore/grind and, over the following few years, rapidly increased its use of sexual language and imagery.
1992–1995: The Release Titles Themselves Become Sexual
The shift is easy to see in the release titles.
| Year | Release | Meaning and features of the title |
|---|---|---|
| 1992 | Spermany’s Most Wanted | A sexual pun that can be read as replacing “Germany” with “Spermany” |
| 1994 | Hyper-Intestinal Vulva Desecration | A coinage combining intestines, vulva, and desecration that resists literal translation |
| 1994 | Twat Enema (split with Gore Beyond Necropsy) | Roughly, a “vagina enema” |
| 1994 | Fistful of Sperm (split with Brain Damage) | “A fistful of semen” |
| 1995 | Pussyfied / Assyfied | Sexual coinages built by modifying “pussy” and “ass” |
The glosses given here are provisional literal readings meant only to help convey the meaning. Many of GUT’s titles are coinages and puns that cannot be rendered naturally in ordinary language, so these glosses should not be treated as if they were official titles.
What matters is that GUT did not merely use sexual subject matter in its lyrics. The release titles themselves made up the band’s character, so that sexual language caught the eye the moment someone picked up the record.
Genitals, Semen, and Sexual Acts Fill the Song Titles
The song titles are even more explicit. The Singles Collection on GUT’s official Bandcamp includes titles such as Intestinal Cumshot, Dead Girls Don’t Say No, Vagina Berserker, Pussy Grinder, and Anal Sushi.
“Porn” here does not mean the expression of sensual eroticism. Genitals, semen, corpses, excrement, violence, insult, and tasteless puns are deliberately mixed together. Unlike pornography in the ordinary sense, which aims at sexual arousal, the “porn” in pornogrind is distinguished by pushing sexual material to extremes as a resource for shock and bad taste, in the same way as gore and excrement.
1995’s Odour of Torture Brings Sexual Language to the Fore
On the 1995 debut album Odour of Torture, this world becomes pronounced. Its tracks include titles such as Perpetual Sperm Injection, Dildo Delirium, Triple Penetration, Sperm Poisoning, Cock Contest, and Anal Sushi.
Compared with the pathological and cadaverous vocabulary prominent on the early demo, genitals, semen, sexual acts, and the like now occupy a large part of the work’s world. This shift makes it easier to understand why GUT came to be treated as a reference point for pornogrind.
Sexual Imagery Extended to Covers and Packaging
GUT’s sexual expression was not limited to song titles. Michael Skeech’s doctoral thesis, The Biology of Heavy Metal: Evolutionary Links Between Science and Culture (University of Salford, 2022), takes up Odour of Torture as a concrete example in its discussion of pornogrind imagery, analyzing how the cover—a woman piercing her own breast with needles—and the sexual and violent song titles reinforce the work’s themes.
It is also documented that the 1995 7-inch Pussyfied / Assyfied came with a sealed condom.
This is emblematic. The sexual theme was not confined to the recordings; it extended to the cover, the packaging, and even the experience of owning the record.
Even the Members’ Names Became Sexual Characters
In GUT’s case, sexual expression reached beyond release and song titles into the members’ own names. GUT’s lineup history lists names such as Organic Masturbator of 1000 Splatter Whores, Spermsoaked Consumer of Pussy Barbecue, Torturer of Lacerated and Satanic Tits, and Cadaveric Vaginaripper of Putrefying Orgasms.
Taken literally, these names describe an organic masturbator of a thousand splatter whores, a semen-soaked consumer of a vagina barbecue, and a torturer of slashed, satanic breasts. Cadaveric Vaginaripper of Putrefying Orgasms goes further, fusing corpses, genitals, putrefaction, and orgasm into a single name. A character concept mixing sex, gore, violence, and bad taste had worked its way into the members’ own names.
GUT’s “Porn” Does Not Lie Only in Distinctive Riffs or Rhythms
At this point, the reason GUT is called pornogrind becomes fairly clear. At its center are sexual release titles, song titles dealing with genitals and sexual acts, sexual stage names, covers linking sex with bodily injury, packaging that included a condom, and an overall band character blending gore, excrement, and sex.
It is therefore not surprising if someone listening only to GUT’s recordings cannot tell that “this is pornogrind, not goregrind.” GUT’s pornogrind quality lies not only in particular guitar riffs or rhythms; it appears most strongly in the whole world of the work, which combines the music with the expression surrounding it—song titles, release titles, covers, packaging, stage names, samples, and more.
Did GUT Call Themselves “Pornogrind” from the Start?
Today GUT is often introduced as “the founders of pornogrind” or “the fathers of pornogrind.” However, no evidence can be found that GUT explicitly presented themselves as a new genre called pornogrind from the start of their activity in 1991.
In a 2017 interview with No Te Calles Zine, the members recall that after they split up in 1995, they were suddenly treated as “porngrind masters,” and that their cult reputation began then.
In a 2025 interview with Good Guys Go Grind, too, GUT’s beginnings are described as rather accidental. There was studio time left over after a Pyogenesis demo session, so they used it to start recording, and the result became Drowning in Female Excrements. They also recall that most of the early songs were improvised.
It is therefore risky to say that “GUT designed and named the genre pornogrind in 1991.” More accurately, the sexual and deliberately offensive world GUT developed in the early-to-mid 1990s later came to be recognized as the archetype of pornogrind. Who first used the word “pornogrind” also cannot be determined from the sources currently available.
Does Pornogrind Have a Sound of Its Own?
In short, it is difficult to define a decisive, distinctive sound that clearly separates it from goregrind.
Listening to GUT or the later Cock and Ball Torture, certain things stand out: extremely low pitch-shifted vocals, downtuning, simple riffs, mid-tempo repetition, bouncing grooves, and switches into blast beats. But these are not techniques exclusive to pornogrind; they also exist around goregrind and deathgrind. They are not “conditions for pornogrind” but “musical tendencies frequently found in its key bands.”
Cock and Ball Torture: A Groove-Focused Style
Germany’s Cock and Ball Torture are important for thinking about the musical side of pornogrind. Belonging to a later generation than GUT, they did not rely on nonstop blasting; instead they repeated low, simple riffs and pushed to the front a mid-tempo groove meant to make bodies sway.
Cock and Ball Torture later became one of the bands most representative of pornogrind’s sonic image of “low gurgles and bouncing mid-tempo riffs.” That image, however, should not be read backward into a definition of the genre as a whole.
In a 2009 interview with Tobias Augustin, he expresses irritation that later bands had started copying each other’s intros and porn images from the internet. He also explains that live, the band did not use fixed lyrics, sometimes improvising talk on the spot or simply gurgling.
This, too, shows that even when sexual words are used in abundance in song titles and imagery, the verbal content of the vocals actually heard is not necessarily at the center of the genre.
Rompeprop: Turning Goregrind into a “Party”
The Dutch band Rompeprop is also important for understanding this surrounding style. Rompeprop, however, describe themselves mainly as goregrind. In a 2002 interview with Steven Smegma, he speaks of his love for pitch-shifted gurgles and groovy goregrind, while the band places emphasis on fun and on interaction with the audience.
Here, elements also found around GUT and Cock and Ball Torture—pitch-shifted low vocals, mid-tempo grooves, tasteless humor, over-the-top characters, live shows enjoyed together with the audience—develop in a more party-oriented direction.
Rather than pinning Rompeprop down strictly as “pure pornogrind,” then, it is more appropriate to see them as a key band in the border zone where pornogrind and groove-oriented goregrind overlap.
A History of Pornogrind
Prehistory: Goregrind’s Bodily Expression
An important part of pornogrind’s prehistory is goregrind, which was made highly visible by Carcass and others. Goregrind brought the inside of the body—normally hidden—into the center of the work, taking blood, organs, decay, disease, corpses, and dissection as its subject matter.
Pornogrind shares this deliberately offensive interest in the body and much of the musical vocabulary, while bringing genitals, sexual acts, sexual insult, and the like to the fore. This does not mean, however, that there was a straight line of inheritance from Carcass to GUT.
In the United States in the late 1980s and early 1990s, there were also separate developments linking sexual shock expression with noise/grind, such as Meat Shits. Meat Shits are said to have started in 1987, and they are treated as one of the representative examples in Lee Barron’s later research on porngrind. It is therefore better not to put too much weight on a single “inventor” in the history of pornogrind.
1991–1995: GUT Becomes the Later Reference Point
In GUT, which began with Drowning in Female Excrements in 1991, gore and pathological subject matter coexisted with sexual expression from an early stage. On the 7-inches and splits from 1992 onward, sexual release titles, song titles, and stage names moved further to the fore, and on 1995’s Odour of Torture that world was presented in consolidated form.
In hindsight, GUT in this period became one of the biggest reference points for thinking about “what pornogrind is.” Judging from the members’ own accounts, though, they were not consciously founding a genre from the outset. Rather than saying they “invented a genre,” it fits the sources better to say that the name pornogrind later became established as a word for describing GUT’s expression.
Late 1990s–2000s: The Groove-Oriented Image Grows Stronger
Sexual themes and a certain sense of groove already coexisted in GUT. Later, with bands such as Cock and Ball Torture, mid-tempo grooves, extremely low vocals, and simple repetitive riffs became more prominent.
As a result, not only sexual subject matter but also a certain sonic image—“low gurgles and mid-tempo repetition”—came to be strongly associated with pornogrind. Since that musical vocabulary is also shared with goregrind, however, it cannot be called an essential condition of the genre.
Representative Pornogrind Bands
GUT
The single most important historical reference point. Beginning with Drowning in Female Excrements in 1991, then through the 7-inches from 1992 onward and 1995’s Odour of Torture, GUT tightly bound sexual release titles, song titles, stage names, and cover imagery to gore/grind.
Cock and Ball Torture
A key band that foregrounded mid-tempo grooves and extremely low vocals, essential for understanding the style later remembered as “the pornogrind sound.” A 2009 interview with Tobias Augustin also confirms a live style that did not necessarily use fixed lyrics, as well as criticism of later bands copying their imagery.
Meat Shits
An important example from a separate American lineage. MusicBrainz records the band as formed in 1987. They linked sexual shock expression with noise/grind early on and are treated as one of the representative examples in Lee Barron’s research on porngrind.
Lividity
An important band for thinking about extreme sexual and violent expression in the United States. In a 2019 interview with Dave Kibler, he says himself that there is intense hatred in his lyrics, and that he treats emotions and fantasies arising from watching pornography and from past relationships as a creative outlet.
Rompeprop
The band’s self-identification leans toward goregrind, but through groove, low vocals, crude humor, and party-style live shows, they connect strongly with the surrounding history of pornogrind. In a 2002 interview, too, they describe their music as goregrind while emphasizing fun and interaction with the audience.
Why Sex and Pornography as Subject Matter?
There is no single reason common to every band. At least in GUT’s case, it did not begin from some grand political theory.
In the 2025 interview with the band, early GUT is described as a side project started for fun, meant to be dirtier and cruder. They also recall that most of the early songs were improvised. It seems likely that shock, bad taste, black humor, sexual taboo, and the further intensification of gore expression all overlapped here.
One should therefore not retrofit GUT with a theory such as “they started pornogrind in order to critique the sexual body.” The understanding closest to the band’s own accounts is that they were playing around, pushing the bad taste of gore/grind further in a sexual direction.
Is Pornogrind “Just Dirty Jokes”?
This varies considerably from band to band. The members’ own accounts show that GUT’s early activity was strongly marked by pranks and improvisation. Cock and Ball Torture sometimes performed live without fixed lyrics, using improvised talk or gurgles, and Rompeprop also emphasize humor and shared fun with the audience at their shows. There is thus no need to read serious ideological meaning into every song.
On the other hand, the scene as a whole cannot be explained as “harmless pranks” either. Lividity’s Dave Kibler explains that there is intense hatred in his lyrics, and that he treats emotions and violent fantasies arising from watching pornography, past relationships, and so on as a creative outlet. He also speaks of shock and pain in connection with the band’s expression.
GUT’s improvised pranks, Rompeprop’s entertainment value, and Lividity’s outlet for hatred and fantasy cannot be lumped together as a single motive. It is neither “all a joke” nor “all serious”; the motives behind the expression differ from band to band.
In addition, Lee Barron’s paper “Dworkin’s Nightmare: Porngrind as the Sound of Feminist Fears” focuses on the sexual explicitness, sexual violence, and misogyny repeated in porngrind, and compares them with Andrea Dworkin’s anti-pornography arguments. That performers made something as a joke and what social meaning that expression carries are separate questions.
How Should We Think About Its Sexual Expression?
One can also refer here to the feminist sex wars. Andrea Dworkin, Catharine MacKinnon, Gayle Rubin, and others did not, however, write about pornogrind. Rather, the debates over pornography, sexual expression, and censorship that unfolded mainly in the United States from the late 1970s through the 1980s are used as an external comparative framework for looking at pornogrind.
The anti-pornography feminism of Dworkin and MacKinnon criticized pornography not as merely unpleasant images but as expression bound up with women’s subordination and sexual violence. On the other side, anti-censorship and sex-positive thinkers such as Gayle Rubin raised the danger that regulating sexual expression wholesale on grounds of social disgust would also suppress sexual minorities and the consensual sexual cultures of adults. Rubin’s “Thinking Sex” is one of the important texts for thinking through this debate.
With pornogrind, too, “it’s bad because it’s vulgar” is not sufficient criticism. At the same time, it does not follow that “since it’s a joke, whatever it expresses is meaningless.” The content of the work, the performers’ intent, real-world harm, fiction, consent between adults, and how audiences receive it all need to be considered separately.
Rosemary Overell’s grindcore study “‘[I] Hate Girls and Emo[tion]s’: Negotiating Masculinity in Grindcore Music” likewise acknowledges that misogynistic expression exists in the scene, while arguing that the shared bodily experience of brutality at live shows, and the sense of belonging it creates, cannot be reduced to the content of the expression alone.
The “Sexualization of Violence” Criticized by Jeff Walker
It is interesting to return to goregrind here. In a 2014 VICE interview, Carcass’s Jeff Walker criticized some post-Carcass expression, to the effect that there were cases that turned violence in a sexual direction or made being disgusting an end in itself. He explained that Carcass itself had ideas and humor behind it.
Walker did not criticize the pornogrind genre as a whole by name. Still, his remarks show that moving from gore expression to sexual shock expression was not simply a matter of “evolving to be more extreme.” When the subject matter shifted from goregrind to pornogrind, the meaning of the bodily expression changed as well.
Is Pornogrind an Independent Music Genre?
In conclusion, its boundaries are too blurred for it to be considered a fully independent genre.
Listening to GUT or Cock and Ball Torture, there is certainly a recognizable shared image: low voices, simple riffs, mid-tempo grooves, sexual song titles, and offensive covers. But if you isolate only the musical elements, most of them also exist in goregrind.
Pornogrind is therefore easier to understand not as a sound fully independent of goregrind but as a microgenre that strongly binds sexual themes, language, and imagery to the musical vocabulary of gore/grind. On top of that, one can say that the mid-tempo grooves and low vocals prominent in GUT, Cock and Ball Torture, and others form a sonic image characteristic of the genre.
Pornogrind Today
Pornogrind is not entirely a thing of the past. In a 2025 interview, GUT said they were working on new material. GUT is also listed on the official 2026 page of Party.San Metal Open Air.
Interestingly, Party.San classifies the 2026 GUT as Goregrind / Grindcore. Even GUT, historically discussed as the leading example of pornogrind, is given a different genre name in a current official festival classification. This is one example showing that the boundary between pornogrind and goregrind is not fixed.
On the other hand, there are no statistics quantifying the use of the name “pornogrind” or its boundary with goregrind. It therefore cannot be asserted either that pornogrind has died out or that a worldwide revival is currently underway.
As of 2026, what can be said is only that historical bands including GUT remain active, and expression that binds sexual subject matter to gore/grind music also persists.
Frequently Asked Questions
Can pornogrind and goregrind be told apart by sound alone?
Not always. The two share many musical features—blast beats, low vocals, pitch shifting, downtuning, mid-tempo grooves—and classification often depends on song titles, covers, samples, the bands’ own descriptions, and so on.
Does pornogrind always use samples such as moaning?
Some bands and releases do not. Sexual audio samples are a very obvious “porn element,” but they are not an essential condition of the genre. In GUT’s case, their early pornogrind quality is most clearly visible in the release titles, song titles, stage names, and the imagery of their covers and packaging.
Did GUT invent pornogrind?
GUT is one of the most important reference points in its history. However, no evidence can be found that GUT used the genre name pornogrind from 1991, or that they invented the name. In a 2017 interview, the band themselves recall coming to be seen as “porngrind masters” after their 1995 breakup.
Where should a first-time listener start?
To understand the history, GUT’s Odour of Torture is the most accessible starting point. Rather than listening only to the sound, look at the song titles, the cover, and the overall imagery of the release as well; that makes it easier to see “why this is called pornogrind.” If you then listen to Cock and Ball Torture, the contrast with a style in which mid-tempo grooves and low vocals are more prominent will also become clear.
Summary
Pornogrind is neither simply “goregrind with dirty lyrics” nor “slow goregrind.” Nor is there a special guitar technique or rhythm that exists only in pornogrind.
What matters most is that it combined the music of goregrind and grindcore with expression—release titles, song titles, covers, stage names, samples—dealing with genitals, sexual acts, semen, sexual insult, and the like. GUT demonstrated this most clearly.
The 1991 Drowning in Female Excrements was still strongly continuous with the pathological and cadaverous expression of gore/death metal, but from 1992 onward sexual language spread into the release titles themselves: Spermany’s Most Wanted, Hyper-Intestinal Vulva Desecration, Twat Enema, Fistful of Sperm, Pussyfied / Assyfied. The song titles included Sperminator, Intestinal Cumshot, Dead Girls Don’t Say No, Vagina Berserker, Pussy Grinder, and Anal Sushi, and the members themselves used names such as Organic Masturbator of 1000 Splatter Whores and Spermsoaked Consumer of Pussy Barbecue. Including the cover of Odour of Torture and the packaging of Pussyfied / Assyfied, which came with a condom, the sexual imagery was carried through thoroughly beyond the recordings as well.
Seen this way, it is clear where GUT’s “porn” lies. It does not exist in the sound alone; it exists in the whole world of the work, encompassing sound, words, covers, packaging, personas, and tasteless humor.
At the same time, musical tendencies such as groove were already present in GUT, and with later bands such as Cock and Ball Torture, mid-tempo repetition and extremely low vocals became even more prominent. These, however, remain frequent tendencies, not absolute conditions of the genre.
Pornogrind is therefore best understood as a microgenre that strongly binds sexual themes and imagery to the musical vocabulary of gore/grind.
About the Research for This Article
For this article, we cross-checked interviews with the people involved—GUT, Cock and Ball Torture, Rompeprop, Lividity, and others—GUT release and discography sources, and research on porngrind and grindcore.
In particular, we have not adopted assertions such as “GUT invented the word pornogrind,” “GUT called themselves pornogrind from 1991,” “mid-tempo groove is a feature unique to pornogrind,” “a pitch-shifted voice makes it pornogrind,” “all pornogrind is a joke,” or “pornogrind is currently booming or extinct,” because they go beyond what the available sources can confirm.
The glosses attached to release titles and stage names are provisional aids to understanding, not official translations of the original titles. GUT uses many deliberate coinages and puns, so where a literal rendering is difficult, we have not forced a fixed meaning.
Feminist theory, too, is used not to explain the creative motives of GUT or other bands, but as a comparative framework for analyzing sexual and violent expression from the outside.
GUT: Primary Sources
- GUT — Good Guys Go Grind, 2025
- GUT — No Te Calles Zine, 2017
- GUT, Drowning in Female Excrements
- GUT, Spermany’s Most Wanted
- GUT, Hyper-Intestinal Vulva Desecration
- GUT, Pussyfied / Assyfied
- GUT, Twat Enema (split)
- GUT, Fistful of Sperm (split)
- GUT, The Singles Collection — official Bandcamp
- GUT, Odour of Torture
- GUT — members / stage names
Related Bands: Primary Sources
- Cock and Ball Torture / Tobias Augustin — 2009 interview
- Rompeprop / Steven Smegma — Brutalism, 2002
- Lividity / Dave Kibler — Brutalism, 2019
- Jeff Walker / Carcass — VICE, 2014
Discography and Current Activity
Research
- Lee Barron, “Dworkin’s Nightmare: Porngrind as the Sound of Feminist Fears”, Popular Music History 6(1–2), 2012.
- Rosemary Overell, “‘[I] Hate Girls and Emo[tion]s’: Negotiating Masculinity in Grindcore Music”, Popular Music History 6(1–2), 2012.
- Rosemary Overell, Affective Intensities in Extreme Music Scenes: Cases from Australia and Japan, Palgrave Macmillan, 2014.
- Michael Skeech, The Biology of Heavy Metal: Evolutionary Links Between Science and Culture, PhD thesis, University of Salford, 2022.
- Keith Kahn-Harris, Extreme Metal: Music and Culture on the Edge, Berg, 2007.
References on Sexual Expression and Feminism
- Andrea Dworkin, Pornography: Men Possessing Women, 1981.
- Catharine A. MacKinnon, Feminism Unmodified, 1987.
- Gayle S. Rubin, “Thinking Sex”, 1984.
- Carole S. Vance (ed.), Pleasure and Danger, 1984.
Translated from the Japanese original, “ポルノグラインドとは？｜ゴアグラインドから派生した音楽の特徴と歴史”. Quotations from Japanese sources are our own translations.