GRANATE

"Disturbed to the core"

Think badly, act worse.

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Mood: I cut myself until I stopped bleeding

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General	The foundation of the Seattle sound. Four pillars of distortion, visceral pain, and absolute noise. This is where the mud turns into a hymn. “Las películas terminan, los libros se cierran y la música se apaga. Pero los monstruos reales siguen caminando entre nosotros.”
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“Some people are born to look where others turn away.” Between killers, cults, cannibals, cursed films, banned books, and music so heavy it sounds like a warning. This page was created for those who are drawn to the grotesque, the disturbing, and everything the world would rather forget. In the end, the macabre lives in everyday life; it can hide inside a perfect family, in a stranger, or even behind the calmest face. You never know what someone keeps inside their mind until you decide to dig a little deeper. As Ed Gein once said: “When I see a pretty girl walking down the street, part of me wants to take her out, and part of me wonders what her head would look like on a stick.”

Versión en español para cerebros tan oxidados que necesitan traducción hasta para respirar.

“Algunas personas nacen para mirar donde los demás apartan la vista”. Entre asesinos, sectas, caníbales, películas malditas, libros prohibidos y música tan pesada que parece una advertencia. Esta página fue creada para quienes sienten curiosidad por lo grotesco, lo perturbador y todo aquello que el mundo preferiría olvidar. Al final, lo macabro vive en lo cotidiano; puede esconderse en una familia perfecta, en un desconocido o incluso detrás de la mirada más tranquila. Nunca sabes lo que alguien guarda en su mente hasta que decides escarbar un poco más profundo. Como decía Ed Gein: “Cuando veo a una chica bonita por la calle, una parte de mí quiere salir con ella, y la otra se pregunta cómo se vería su cabeza en un palo”.

AESTHETICS AND DECADENCE

1950s: the beginning of morbidity as entertainment

In the 1950s, music discovered that fear and forbidden imagery could attract more attention than the songs themselves. Screamin' Jay Hawkins appeared on stage coming out of coffins, surrounded by skulls, smoke and fake rituals. He looked more like a witch doctor or a corpse than a singer. From that point on, the idea started growing that death itself could become entertainment.

1970s: fake blood, executions and monsters

In the 1970s, music stopped trying to look strange and started trying to look dangerous. Alice Cooper used fake blood, guillotines, straitjackets, electric chairs and execution scenes in his concerts. The stage looked more like a torture room than a live performance. During those same years, KISS turned makeup into something monstrous: demonic faces, giant boots, fire, leather, spikes and massive platforms. Musicians stopped looking human and started looking like creatures from a nightmare.

1980s: MTV turned horror into something mainstream

In the 1980s, the arrival of MTV allowed all of that dark imagery to enter millions of homes. The music video for Thriller by Michael Jackson filled television screens with zombies, corpses, extreme makeup and decomposing bodies. But while some artists turned horror into commercial spectacle, others made it even more grotesque. W.A.S.P. built its fame around disgust. Between 1982 and 1984, their concerts included raw meat, fake guts, fake blood, women tied to torture racks, chainsaws and fake dismemberments. Blackie Lawless threw pieces of meat into the crowd and drank “blood” from a fake human skull. It was no longer about entertainment: the goal was to provoke disgust.

1990s: black metal stopped pretending

But nothing became as extreme as Norwegian black metal in the 1990s. In that scene, the aesthetic stopped being a costume and started mixing with real-life violence.´

Mayhem, Burzum, Darkthrone and Emperor were all part of what became known as the “Inner Circle,” a group obsessed with Satanism, misanthropy, destruction and total rejection of religion.

Euronymous ran a store called Helvete, which means “Hell.” Musicians gathered there to talk about hatred, death, arson and Satanism.

Inside that scene, Dead became one of the most disturbing figures. People close to him claimed that he buried his clothes for weeks so they would smell like dirt, moisture and decay before concerts. It was also said that he carried a dead crow in a plastic bag and inhaled it before performing because he wanted to “smell death.” Former band members also claimed that he cut himself with knives and broken bottles on stage until he bled for real.

Dead also starved himself to look thinner, paler and more corpse-like. He spent hours alone writing about death, emptiness and darkness. His black-and-white makeup was not meant to look theatrical: he wanted to look like a real corpse.

In 1991, Dead killed himself. After that, even darker stories began to spread. According to former members and people close to the scene, Euronymous found the body and, before calling the police, took photographs of the scene. One of those images later became associated with the bootleg album Dawn of the Black Hearts. Interviews and internet forums also claimed that he collected fragments of Dead’s skull to make necklaces and gave them to musicians he considered “worthy.” Not all of those stories were ever fully confirmed, but they became part of the band’s disturbing legend.

Between 1992 and 1996, members of the Norwegian black metal scene took part in the burning of more than 50 churches in Norway. One of the most famous was Fantoft Stave Church, destroyed in 1992. Varg Vikernes was suspected in that case and later convicted for other church burnings. He even used the image of a burned church on the cover of the EP Aske.

The violence finally exploded in 1993, when Varg Vikernes stabbed Euronymous to death after months of threats, rivalry and hatred. He was sentenced to 21 years in prison.

2000s: suffering turned into sound

In the 2000s, Stalaggh became one of the most disturbing bands because of the rumors surrounding their music. The group claimed to use real recordings of psychiatric patients screaming in their songs. In forums and vague interviews, some followers claimed that one of those patients had been a murderer and that another later killed himself after taking part. There was never clear proof, but the band allowed those rumors to grow because the more real the suffering seemed, the darker and more disturbing their image became.

Covers and prohibited material.

CENSORED MATERIAL, GORE, AND REAL RECORDS IN MUSIC

1960s–70s: when the disturbing begins to surface

In 1962, The Crystals released He Hit Me (And It Felt Like a Kiss), produced by Phil Spector. The song does not present violence as tragedy, but as something accepted within a relationship. The voice shows no fear, no pain, which creates an unsettling effect: the violence is not condemned, it is normalized. This detail caused many radio stations to remove it almost immediately. Not because of explicit content, but because it felt too real. It sounded like something that could actually be happening without exaggeration.

With Billie Holiday and Strange Fruit, the reaction was different but equally disturbing. The song describes bodies hanging from trees after lynchings, with a calm tone that forces the listener to visualize the scene in detail. Many stations avoided broadcasting it because the impact came from the mental image: lifeless bodies, suspended, exposed. The censorship here was not about morality, but about the inability to normalize that image.

In the 1970s, Alice Cooper pushed further: Dead Babies → child death presented directly I Love the Dead → contact with corpses Here, the dead body stops being implied. It begins to be described.

Singing all day "I Love The Dead" by Alice Cooper, sure made some people look at me weird.

I'm not apologizing XD

1980s: when disturbing content becomes officially categorized

In the 1980s, the Parents Music Resource Center began creating lists of “dangerous” content. This was no longer spontaneous censorship, but structured classification.

Slayer with Necrophiliac presents one of the most direct descriptions of necrophilia in metal. The lyrics avoid metaphor and instead detail interaction with a corpse in explicit terms. This made it an example of extreme material even within its own genre.

Mercyful Fate with Into the Coven introduces occult rituals described in a way that felt concrete rather than symbolic. The concern was not only religious, but the fact that these practices were presented with a sense of realism.

During this decade, music crosses a line: the human body stops being symbolic and becomes a direct object of narration.

Late 80s–90s: With Cannibal Corpse, content reaches a level that triggers state intervention.

The artwork by Vince Locke is not abstract horror. It is constructed with anatomical intention: recognizable organs, plausible cuts, physically possible body positions. It does not look imaginary. It looks possible.

Albums such as: Eaten Back to Life (1990) → consumed corpses, re-used bodies Butchered at Birth (1991) → mutilation from birth Tomb of the Mutilated (1992) → necrophilia and decomposition The song Hammer Smashed Face describes the destruction of a human face in graphic detail.

This led to real consequences: In Germany, performing these songs live could lead to legal issues for over 15 years In Russia, a court banned distribution for promoting murder, cannibalism, and suicide In Australia and Korea, albums were seized at customs

At this point, music is no longer just offensive. It is treated as something that must be controlled.

WHEN DEATH IS USED DIRECTLY

Carcass with Reek of Putrefaction (1988) pushed visual limits further. The cover is not an illustration. It is a collage made from real medical photographs: autopsies, extracted organs, opened bodies. These images were taken from medical archives and rearranged without altering their origin.

The result was considered unbearable in multiple countries, leading to censorship and replacement.

Mayhem and the “Crime Scene”

The cover of Dawn of the Black Hearts is not a recreation. It is a real photograph of the corpse of Dead after his suicide in 1991.

The body appears exactly as it was found. No editing. No concealment. The image was taken by Euronymous, who, according to testimonies, documented the scene before contacting the police.

A large portion of the most disturbing material from 90s Black Metal and underground scenes was never intended for official release. It did not pass through record labels, it was not edited, it was not censored. It circulated as physical objects: VHS tapes, cassettes, degraded copies.

Within Mayhem, there are recordings that became almost “forbidden artifacts”:

VHS: Live in Jessheim

Live in Jessheim (1990)

VHS: Sarpsborg

Mayhem - Live in Sarpsborg (1990)

(Click while you get your hands dirty with filth)

In these recordings, Dead appears on stage cutting himself with broken bottles, bleeding in a real and uncontrolled way. The blood is not theatrical. There is no pause. There is no immediate intervention.

What makes it more disturbing is not only the act itself, but the audience’s reaction: no one is certain whether it is part of the performance or something genuinely out of control.

These tapes were never officially sold. They circulated through tape trading, a system where fans exchanged copies by mail. Each copy lost quality, but preserved the content: grainy image, distorted sound, screams, background noise. This degradation made the material feel even more raw.

The cabin recordings (1990)

Before Dead’s suicide, there are rehearsal recordings made in a cabin where the band lived and worked. These are not clean recordings. They are deteriorated tapes, filled with constant noise, where music blends with conversations.

According to forums and testimonies from the scene: internal arguments can be heard,there are long silences and tense atmospheres Dead’s behavior appears increasingly unstable There is no full official confirmation of the content, but these recordings are treated as documents preceding psychological collapse.

I talk a lot about Dead and Mayhem, they were so rotten and sick that it's impossible not to mention their twisted minds.

1990s–2000s: WHEN AUDIO SOUNDS LIKE REAL SUFFERING

As I mentioned before The case of Stalaggh / Gulaggh

This extreme noise project became one of the most unsettling cases not because of what it shows, but because of what it claims. Albums such as: Projekt Nihil (2001) and Projekt Terrror (2007, under Gulaggh) do not contain songs in a traditional sense. There is no structure. No melody. What is heard are screams, cries, gasps, and sounds of extreme distress, layered with chaotic noise. The creators claimed: the sounds came from real psychiatric patients recordings were made inside institutions some participants were in severely altered mental states None of this has been officially verified. What circulates in forums and testimonies Within underground communities, several versions are repeated: that some participants had committed violent acts, that one had killed a family member, that during recording sessions control was lost, that one participant later committed suicide

Stalaggh / Gulaggh

Stalaggh - Projekt Terror

This “music” project was recorded with real mentally ill people (from psychiatry) screaming and is produced to illustrate the pain of the musicians who came up with this idea. Listen closely and take a look into the dark abyss of a human mind.

THE BODY AS DIRECT MATERIAL

At this stage, music stops building atmosphere. Bands such as:

Last Days of Humanity

Regurgitate work not only with extreme sound, but with real visual material

Album covers and visual material

Last Days of Humanity – Putrefaction in Progress

collage made from real images of decomposing bodies

Regurgitate – Carnivorous Erection

scenes of mutilation and human remains, often based on real material or hyper-realistic recreations Goregrind compilations direct use of medical photographs, accidents, autopsies

These images are not designed for aesthetic value. They aim for immediate physical impact.

SECTION CLOSING

At this point in history: recordings stop functioning as structured music images stop being representations audio stops sounding like performance And everything begins to exist in an uncomfortable space

where it is no longer clear whether what is being seen or heard

or a record of something that actually happened.