{"id":1698102,"date":"2026-01-23T00:00:00","date_gmt":"2026-01-22T21:00:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1698102"},"modified":"2026-01-23T00:00:00","modified_gmt":"2026-01-22T21:00:00","slug":"backengrillen-drop-ferocious-self-titled-debut-blending-hardcore-punk-free-form-death-jazz","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1698102","title":{"rendered":"BACKENGRILLEN Drop Ferocious Self-Titled Debut, Blending Hardcore, Punk & Free-Form Death Jazz"},"content":{"rendered":"
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The new Ume\u00e5-based ensemble Backengrillen<\/strong> have officially arrived with their self-titled debut album, out today January 23, 2026 on vinyl, CD and digitally via Bandcamp, released through Svart Records.<\/p>\n

Rooted in hardcore, punk, noise and free jazz, Backengrillen<\/strong> are less a band than a collision. Their lineup draws from the original incarnation of Refused<\/strong>, alongside deep ties to projects such as Fire Orchestra<\/strong>, The International Noise Conspiracy<\/strong>, INVSN<\/strong>, TEXT<\/strong>, Final Exit<\/strong>, The Thing<\/strong> and classic jazz outfits \u2014 with one member even tracing their origins back to the 1980 jazz-rock ensemble Nirvana<\/strong>.<\/p>\n

As saxophonist and experimental icon Mats Gustafsson<\/strong> puts it, the band’s ethos is about tearing down borders entirely: “Music and art without definite labels is a necessity for a better living \u2014 create your own individual genres and open up for more death-jazz-core-noise-metal-poetry to enter your world of destroying the local and global stupidities around us.”<\/p>\n

That sense of joyful destruction runs straight through the record. Drummer David Sandstr\u00f6m<\/strong> sums it up with typical bluntness: “We really hope this slab of stupid, violent death rock will ruin someone’s day. Haha.”<\/p>\n

Backengrillen<\/strong> describe themselves as anti-fascist, anti-racist, free-form death jazz, operating in the memory of Lars Lystedt<\/strong> while carving out new perspectives on both jazz and punk. The result is a confrontational, in-your-face hybrid \u2014 hardcore jazz that’s as physical as it is chaotic.<\/p>\n

Sonically, the band pull inspiration from an intentionally unruly spectrum: The Cramps<\/strong>, Little Richard<\/strong>, Albert Ayler<\/strong>, Polly Bradfield<\/strong>, Entombed<\/strong>, John Zorn<\/strong>, Misfits<\/strong>, The Stooges<\/strong>, Lars Gullin<\/strong> and Can<\/strong> all loom somewhere in the wreckage. It’s music that swings, screams and convulses \u2014 four \u201ccolliding locomotives,\u201d as the band describe it, generating a new kind of brutal beauty.<\/p>\n\n<\/div>\n

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