Dirtcore Music – “Overkill” review

This is the 2nd showcase compilation from Grand Rapids, Michigan independent record label Dirtcore Music founded by local rapper, singer/songwriter & producer Crossworm. The latter of whom was sole artist officially signed for its first 2 decades of existence until bringing Samson Samson whom he formed Bodies Below Sea Level with, Madd Maxxx, Mumm Ra, Sleep Lyrical, J Reno whom he formed Misery Coast with & Grounds all on board. Others such as Gavyn Gunn & Oblivia have spent a brief amount of time signed to Dirtcore with Gavyn’s debut EP Malevolent being a great start to his ongoing trilogy, celebrating Devil’s Night with Overkill.

Crossworm eerily starts with a self-produced intro “Halloween Sucks” talking about him spraying mace at anyone who knocks on his door whereas “The Veil” by J Reno takes the trap route instrumentally discussing the boundary between life & death. “Mask On” by Sleep Lyrical shows a bit of a Memphis influence being in the kitchen with evil eyes every Halloween while “Agree to Disappear” by Madd Maxxx speaks to his therapist on wax.

“CR4V3 M3” by Samson Samson embraces a funky industrial direction talking about a woman who’s yearning for him just before “The Old Man” by J Reno returns to the boom bap vividly describes a house usually skipped during trick-or-treating being the only 1 in town this year. “The Warning” by Mumm Ra aggressively asks if anyone wants smoke with him because he ain’t got shit to lost leading into “The Dead Can’t Die” by Crossworm industrially talking about the undead being immortal.

Misery Coast comes off their eponymous debut EP earlier this week with the dusty “Never Woulda Guessed” confessing they didn’t imagine themselves winding up 6 feet in the ground while the horrorcore/industrial “Scream” by Samson Samson talks about making innocent victims shriek when walking in the room. “Demon Me” by Madd Maxxx & Sleep Lyrical bodies a trap beat together feeling lost out their minds while the outro “Nobody” by Grounds sends off the compilation with a metal closer kin to his debut EP Walking into Tragedy.

Dirtcore last Christmas finished 2024 with Dirtcore Music by compiling a collection of songs that’ll get the average listener who hasn’t heard of with the label familiarized with who everyone is from an artistic standpoint & a little bit as people. As far as Overkill’s concerned, they’re switching it up by having the entire roster penning songs that celebrate Samhain through a mix of styles from horrorcore & industrial music to metal & a small dosage of spoken word.

Score: 4/5

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Crossworm – “Cruelty” review

Here is the 8th studio LP from Grand Rapids, Michigan rapper, singer/songwriter, producer & Dirtcore Music founder Crossworm. Starting as 1/2 of 2Korpse before branching out on his own for the full-length solo debut Phoenix, this was followed up by a sophomore LP Ready to Burn alongside 2 EPs Mouth Full of Dirt & jaws: Deciduous respectively. Taking a few years off after the latter, he returned in the summer of 2014 by dropping 4 more albums: Parasite Avenue, Drowning in Restricting Thought, Finding X & Eat the Weak. I’ve covered the Gōst EP along with the synthpop inspired ANTI & of course the eponymous Bodies Below Sea Level debut, dropping Cruelty a month after both Dirtwave & Shelter Skelter.

The first song “We Rise, They Fall” after the “Live, Laugh, Lobotomy” intro was an industrial rock opener singing about how every single one of us should be standing tall whereas “You Fucking Lying Bitch” by Bodies Below Sea Level gets back on the industrial horrorcore sound of their self-titled effort last fall. “Warning” maintains the vibes of the previous track except Crossworm’s doing the MCing all by himself until “Bully” by Bodies Below Sea Level lets out some overcrowded angst they can’t keep in anymore.

“Liquify My Dick & Drink It” hops over an industrial beat for 50 second pleading to be left alone with his peace beneath the cold dirt subtly referencing The Beneath the Dirt Podcast in which the Dirtcore CEO produced it’s theme song, but then “Get the Fuck Off My Lawn” featuring Madd Maxxx industrially unites the 2 so they can repeat the same shit until they’re wrong. After the “What Do You Do?” interlude, “You’re Dead to Me” sings over synthesizers with the lyrics airing out some grievances he has leading into the “Vulnerable” interlude AND the “Useless Entitled Cripple” interlude.

Things get minimal for “It’s All My Fault” meshing pianos & an acoustic guitar taking some accountability for himself while “Shatter” by Misery Coast talks about their squad leaving everyone behind in dust. “Some Call Me the Devil” continued the industrial horrorcore hybrids acknowledging some comparing him to Satan while “I Still Hate” experiments with nu metal feeling loathsome. Lastly, “I Have My Reasons” closes Cruelty with a melodic boom bap joint recalling when he used to feel oblivious.

Eat the Weak was considered to be the most aggressive entry in Crossworm’s whole entire solo career up until this point & over 2 decades since Phoenix, he’s taken it to another level on Cruelty. His production feels like a mix of all the sounds he’s employed during the course of his career from horrorcore to industrial music, nu metal, industrial rock & boom bap bringing half of the artists he’s already signed to his increasingly popular underground hip hop label on board balancing his rapping abilities with his singing chops evenly.

Score: 4.5/5

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Crossworm – “Shelter Skelter” review

Grand Rapids, Michigan rapper, singer/songwriter, producer & Dirtcore Music founder Crossworm quickly following up Dirtwave with his 5th EP. Starting as 1/2 of 2Korpse before branching out on his own for the full-length solo debut Phoenix, this was followed up by a sophomore LP Ready to Burn alongside 2 EPs Mouth Full of Dirt & jaws: Deciduous respectively. Taking a few years off after the latter, he returned in the summer of 2014 by dropping 4 more albums: Parasite Avenue, Drowning in Restricting Thought, Finding X & Eat the Weak. I’ve covered the Gōst EP along with the synthpop inspired ANTI & of course the eponymous Bodies Below Sea Level debut, coming off an EP couple weeks ago by making another stylistic departure on Shelter Skelter.

The title track starts with a witch house intro that sounds like it could be played at the end of an episode during the upcoming 5th & final season of the Netflix hit series Stranger Things whereas “Condemned” takes a prominently industrial direction instrumentally kinda like the Bodies Below Sea Level album without the hip hop fusion. “Oubliette” dabbles with the darksynth subgenre of synthwave additionally using a drum machine prior to “Bones in the Cellar” finishing the way he started in the form of another witch house cut.

When you look at the Depeche Mode influence on ANTI almost 2 years ago & the industrial horrorcore concept of Bodies Below Sea Level’s wider introduction to the underground as a team, Shelter Skelter gives a shot at making industrial & witch house music taking a break from rapping or singing to cook a few beats catered around the experimental style of music emerging out of 70s punk & sprinkling in hints of crunk shoegaze occasionally for a little over 10 minutes.

Score: 3.5/5

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Crossworm – “Dirtwave” review

This is the 4th EP from Grand Rapids, Michigan rapper, singer/songwriter, producer & Dirtcore Music founder Crossworm. Starting as 1/2 of 2Korpse before branching out on his own for the full-length solo debut Phoenix, this was followed up by a sophomore LP Ready to Burn alongside 2 EPs Mouth Full of Dirt & jaws: Deciduous respectively. Taking a few years off after the latter, he returned in the summer of 2014 by dropping 4 more albums: Parasite Avenue, Drowning in Restricting Thought, Finding X & Eat the Weak. I’ve covered the Gōst EP along with the synthpop inspired ANTI & of course the eponymous Bodies Below Sea Level debut, dropping off not 1 but 2 EPs this month.

“Losing You” kicks off the Dirtwave with a synth-pop intro singing about needing & wanting to get rid of somebody to no avail whereas “Meet Me at My Grave” works in a guitar sample & synthesizers explaining that everything they wouldn’t dare say being in the middle of them. “Watch Us Die” featuring THE H0LL0W goes for a summer vibe advising to sit back & watch their demise while “Out in Space” is another great synth-pop cut. “Drown Me” featuring Grounds gets heavier asking to be drowned if they become weak & “Beyond the Grave” finishes by throwing it back to late 2000s/early 2010s-era LINKIN PARK.

Pretty sure that we were gonna get Shelter Skelter before Dirtwave since that was initially teased a month ago, but I’m fine with it being held off for a couple weeks for a 19 minute EP that recaptures the Depeche Mode influences prominently displayed throughout ANTI a year & a half ago as a warm up to Shelter Skelter since it’s more based around industrial & witch house music. His singing feels reminiscent to the late Chester Bennington at times, both remixes take their original versions to greater levels of quality & Crossworm’s versatility continues to extend further.

Score: 3.5/5

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Dirtcore Music – “Dirtcore” review

Dirtcore Music is an independent record label based out of Grand Rapids, Michigan founded by local rapper, singer/songwriter & producer Crossworm. The sole artist officially signed for its first 2 decades of existence until bringing Samson Samson whom he formed Bodies Below Sea Level with, Madd Maxxx, Mumm Ra, Sleep Lyrical, J Reno whom he formed Misery Coast with & Grounds all on board. Others such as Gavyn Gunn & Oblivia have spent a brief amount of time signed to Dirtcore with Gavyn’s debut EP Malevolent being a great start to his ongoing trilogy & the rest of the current roster dropping off a showcase compilation on Christmas.

“You Can Get It” by Grounds, Mumm Ra, Samson Samson & Sleep Lyrical produced by Crossworm follows the “Good Evening” intro fusing electronic & trap to -leave enemies toe-tagged whereas “Burn It All Down” by Bodies Below Sea Level industrially finds themselves in a pyromanic type of mood. “The Split” by Misery Coast & Sleep Lyrical meshes these acoustics & hi-hats to talk about this being their life’s work prior to “Kill Em All” by Madd Maxxx & Misery Coast spitting the wicked shit over a trap instrumental.

Madd Maxxx gets his own solo cut with “Zatoichi” aggressively promising to take you out over a cold blooded aboom bap instrumental from J Reno leading into the cutthroat “Landmine” by Madd Maxxx & Misery Coast talking about rollin’ with villains & henchmen. “Keep You Safe” by Grounds, Madd Maxxx & Sleep Lyrical aesthetically somewhat reminds me of 1,000 Suns/Living Things era LINKIN PARK just before “Wear Them Kicks” by Madd Maxxx after an interlude from Dirtcore’s label manager Bando suggests to slide by him if you wanna try him.

“Heavy Babies Weigh Too Much” by Grounds teases his upcoming EP Walking into Tragedy this spring with a self-produced alternative rock track that breaks down during the 2nd half of it but once “Ill” by Madd Maxxx & Samson Samson gets back in their wicked bags decimating a boom bap instrumental, Bodies Below Sea Level goes into “Killmode” for the final song on the comp with the occasional guitars reminding me of “My Last Breath” by Evanescence serving as the entrance theme of former 2-time AEW TNT Champion, AEW World Trios Champion, 2-time NWA World’s Heavyweight Champion, TNA World Champion, 6-time WWE world champion, 4-time WWE Intercontinental Champion, WWE Hardcore Champion, 9-time WWE tag team champion & The Patriarchy leader Christian Cage.

Making my holiday season a little better, all 8 artists get together to end what’s been an outstanding year for music by compiling a collection of songs that’ll get the average listener unfamiliar with Dirtcore familiarized with who everyone is from an artistic standpoint & a little bit as people. The production from the trio of in-house producers displays the Grand Rapids imprint’s prominently underground wicked shit sound & expanding beyond it for industrial music, rock music, boom bap, electronic rock & trap signaling that everything they’ve done these past few years was only the beginning.

Score: 4/5

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Bodies Below Sea Level – Self-Titled review

Bodies Below Sea Level are a duo consisting of Grand Rapids, Michigan emcee, singer/songwriter, producer & Dirtcore Music founder Crossworm alongside Hampton, Virginia recording artist Samson Samson. Both of whom have already collaborated with each other on a handful of songs over the years up to this point like “Killmode” or “Open Up Your Mind” & of course most notably “Bodies Below Sea Level”, but are finally taking it to a new level by coming off Hallowicked to release an official eponymous full-length debut studio album.

After the “Respawn” intro, the first song “The Devil’s Own” is this industrial hip hop/rap rock mixture talking about being heathens right down to the bone whereas “Laughter (Bang, Bang, Bang)” industrially raps about being guaranteed to stop your momentum. “Evil” works in some dark synthesizers to talk about being wicked people & “Sever” embraces the rap rock influences further on top of the horrorcore lyricism.

“Loser” officially reaches the halfway point of the LP on the rap rock tip letting off some angst for almost 3 minutes just before “Infinite” hooks up some hi-hats & a blobby bassline to talk about the wicked shit always being inside of them to this very day. “Trouble in the Library of Corpses” happens to be another well-crafted industrial/horrorcore blend leading into “Unrepenting” pulling inspiration from Depeche Mode.

Meanwhile on “Eat Myself Alive”, we have Grounds joining over a trap beat admitting that’s the way they feel sometimes & the official closing track “We’re the Dead” proceeding the “Summoning” interlude ends the way they started from the industrial hip hop/rap rock influences to the lyrics talking about them traveling beyond the grave.

Assuming this is only the beginning for them, Bodies Below Sea Level’s self-titled debut gets November going by taking 36 minutes to properly introduce themselves as a unit. The production balancing industrial hip hop & rap rock proves to be a refreshing change of pace within the underground wicket shit scene, building most of the lyrical themes around horror.

Score: 4/5

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Samson Samson – “Bye-Fi” review

This is the 2nd EP from Hampton, Virginia rapper Samson Samson. Introducing himself a decade ago by releasing his debut EP Regret, he would return last spring by releasing the full-length debut studio album Beforecore flooded with guest appearances on nearly half of it, signing to Dirtcore Music exactly a month later & embodying everything he’s been wanting to do artistically on his sophomore effort albeit Dirtcore debut Witch Hunt celebrating it’s 1-year anniversary last weekend. But if you’re looking for Bye-Fi to recapture those vibes, you might just be disappointed.

“My Place” opens with a lo-fi trap intro with a cloudy remix from his Bodies Below Sea Level cohort Crossworm later on that I personally find myself gravitating to more talking about there being a little bit of evil his dreams whereas “E-motion” responds to those calling him emotional over a downtrodden boom bap instrumental. “Darker Coat of Paint” blends lo-fi hip hop & emo rap together suggesting he should’ve listened to himself when he said he wasn’t ready while “Compatible” expresses hope of finding someone who can turn it around when they’re both hurting. Fittingly, the title track ends with Sammy addressing an ex by telling her they weren’t meant to be.

Rather than continuing the horrorcore themes of Witch Hunt last fall, Dirtcore’s inaugural signing switches it up entirely taking accountability for himself & learning not to move on from a relationship so fast. The production’s prominently more lo-fi & the heavily emo subject matter spreads the lesson he’s learned, which is that love gets fickle when you dive into it quickly & says his farewells to something that was never going to work with the hopes of those listening say goodbye to things that we as people have wanted to sort itself out regardless if we have yet to realize that it won’t.

Score: 4/5

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Crossworm – “ANTI” review

Crossworm is a 42 year old recording artist & producer from Grand Rapids, Michigan starting as 1/2 of 2Korpse before branching out on his own for the full-length solo debut Phoenix. This was followed up by a sophomore LP Ready to Burn alongside 2 EPs Mouth Full of Dirt & jaws: Deciduous respectively. Crossworm took a few years off after the latter only to return in the summer of 2014 by dropping 4 more albums: Parasite Avenue, Drowning in Restricting Thought, Finding X & Eat the Weak. Coming off his 3rd EP Gōst this past spring, that was all building up to the 7th LP in the Dirtcore Music founder’s discography & the 10th solo effort overall if you include all 3 EPs that I previously mentioned.

After the “Play” intro, the first song “Finally Alive Again” opens the album by setting the tone for it singing over synthesizers that he took a lesson from the brave whereas “Everything Changed” delves further into synth-pop territory singing that he needs his significant other here with him. “It’s Unheard Of” gives me a bit of an industrial vibe continuing to sing that he doesn’t know how it all came to him just before the quasi-funky “Candy” talks about trying to find something sweeter.

“Your Misery” points out that there’s no one out here in the street other than you & him over another synth-pop beat leading into “Get Out of Here” by Bodies Below Sea Level talking about finding themselves in these long waters they’re treading accompanied by an electro-pop instrumental. “Slovenly” makes it clear people tried to turn him at the stake again & he barely made it out alive with some rock undertones musically, but then “Burn” featuring Oblivia bringing back the funk a little covering The Cure joint of the same name.

The penultimate track “Protogeist” shoots for a spacier approach to the beat admitting that he’s on the fence of someone he used to be & someone that he’s actually never been in the past prior to “Feel” featuring Good Spells rounding out the LP on a cloudier note talking about feeling this woman whenever he breathes & knowing from when he sees it that them being a couple wasn’t meant to be.

This dude has always displayed his versatility over these past couple decades & for ANTI, he makes a stylistic departure from the horrorcore sound that he came up on in favor of drawing inspiration from synthpop music. His singing is reminiscent to that of the late LINKIN PARK frontman Chester Bennington & the production he cooks up is more reminiscent to that of Depeche Mode.

Score: 4/5

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Crossworm – “Gōst” review

Grand Rapids, Michigan rapper, singer/songwriter, producer & Dirtcore Music founder Crossworm preluding his 7th album ANTI this fall with his 3rd EP. Starting as 1/2 of 2Korpse before branching out on his own for the solo debut Phoenix, this was followed up by a sophomore effort Ready to Burn alongside 2 EPs Mouth Full of Dirt & jaws: Deciduous respectively. He took a few years off after the latter only to return in the summer of 2014 by dropping 4 more LPs: Parasite Avenue, Drowning in Restricting Thought, Finding X & Eat the Weak. Nearly 3 years since the latter, the Gōst has returned to haunt the underground.

After the “Morgue Song” intro, “Rape the King of Horrorcore on his Birthday” was a wicked industrial hip hop hybrid suggesting you keep acting like he won’t stick a fork in your face whereas “Trouble in the Library of Corpses” after the “Gimme a Fuckin’ Break” skit industrially talks about death being what you feel. “Suck a Gun” promised he’ll be there anytime you need the reaper while “Baby in the Microwave” by Bodies Below Sea Level blends boom bap production with horror-themed storytelling. Finally after the “Do Your Fuckin Job or You’re Fired” skit, “PU55YB34TER” closes the EP by getting sexual over an industrial beat.

It’s already been made pretty clear that ANTI will be heavily influenced by the synthpop style Depeche Mode became known for earlier on in their careers, so Gōst is more than enough to satisfy anyone who’s been down with him since he put out Phoenix nearly 2 decades ago coming off the most aggressive full-length of his whole entire career during the COVID-19 pandemic. His production goes back & forth between boom bap & industrial hip hop with the Dirtcore founder unapologetically tackling themes of horror in such an irreverent manner.

Score: 4/5

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Samson Samson – “Witch Hunt” review

Samson Samson is a 30 year old rapper from Hampton, Virginia introducing himself a decade ago by releasing his debut EP Regret. He just made his return this spring by releasing the full-length debut studio album Beforecore flooded with guest appearances on nearly half of it, signing to Dirtcore Music exactly a month later. To celebrate the fall & with the Halloween season coming up in 30 days, it’s only right for him to make his Dirtcore debut in the form of his sophomore effort & have the label’s founder Crossworm fully producing it.

After the intro, “The Witch” opens the LP with a boom bap instrumental co-produced by BAD MiND asking exactly how does he know that he’s free & why does he love what isn’t even his whereas “Where to Go” ponders if he’s safe on this road along with his thoughts being unsure of the exact location he’s headed towards. “Gone” featuring J Reno on the remix maintains a dusty vibe to the beat talking about being sick in the head drinking life forces to fix himself prior to “See What You Can’t” boasting of envisioning things others are unable to.

“Stay Quiet” reaches the halfway point of the Witch Hunt feeling like everything’s caving in prior to “Distasteful Static” bringing an industrial hip hop vibe to the table talking about hearing pain & expressing hope of others feeling the exact same way. “Break Down” talks about the bittersweet feeling of his mind collapsing on him & after “Bodies Below Sea Level” introduces the horrorcore duo of the same name with a refreshing industrial hip hop sound, “Run” ends the LP going into rap rock turf doing what others are scared of doing.

Embodying everything he’s been wanting to do artistically, Witch Hunt makes for a captivating comeback from Dirtcore’s inaugural signing officially marking the beginning of a new era as a force to be reckoned with in the underground for years to come. Crossworm’s production pulls heavily from boom bap, rap rock & industrial hip hop with Sammy’s lyrics taking on the perspective of a newly released insane asylum patient recapping his traumatic pain to a therapist.

Score: 4.5/5

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