Grunt official website

News 11 / 2023

GRUNT “Vieraat Aivot” CD out now!

Turku harsh ways fest was played. See reports at Special Interests forum. Live documentation by SI found here, including few minutes of Grunt material:

Next gig is again private show. Possibly recordings of them will be done. Remaining 2023 should be focusing on getting recordings completed. Grunt never intended to be on hiatus of live activity this long. It was merely caused by short re-evaluation of approach and live gear, merely extended by pandemic. Next shows possibly 2024.

former news:

11.8. Live Turku! See announcements at Special Interests forum! Harsh Ways Fest.

Grunt first officially published recordings were made August 1993. 30 years of activity will be marked with some live activity. Couple private shows but also public live gig(s).

-GRUNT “Cast Iron Hand” 10″ out on Old Europa Cafe

-GRUNT “Lone Hunter” 7″ out on Self Abuse

-Some releases sold out. Hehku CD, Kraniometria 3″CD. Check out distributors who may still have them in stock.

-Updates into discography section

-New website opened. This is collection of information that cumulated over the years. Formatting and lay-out varies. Some details may be missing or incomplete. Part of the text originally appeared on Grunt 10xCD box booklet. For cover art or more details of releases, you can find from discogs.

-Grunt tumblr site been inactive since 2015 or so. To be deleted soon.
Grunt bandcamp been inactive since 2017 or so. To be deleted in future.


Grunt was formed in Finland during spring 1993 to create industrial-noise. This is not to be confused to mean beats and synthesizers, but combining metal junk percussions, vocals, samples, feedback and other primitive means into noise, but often creating something else than pure abstract distortion.

Its early incarnations operated with few other names, before settling into Grunt and making the first officially published works. After c. 30 years of activity, it is still going strong. There has never been break, hiatus or dormant years. If some year didn’t have full own release done, there was compilation tracks and /or live gigs happening.

Various styles of noise electronics are always hammered with such pressure it usually transforms into known Grunt-noise, even if new methods and approaches are added. Various interests, moods and approaches and different kinds of topics has been used during the years. Strong visuals and lyrics are the most well known to people.

Since early days, Grunt has been merely part of international power electronics-noise scene. There has never been desire to attract attention widely. There has never been attempts to be credible within academic noise circles, performance art or modern industrial culture. Nor promote it in media outside the core of noise-underground. However, neither there is clear desire to follow genre restrictions. When invitations have happened, Grunt has been featured in documentaries, newspaper articles, playing together with punk, metal and gothic bands as well as among performance art events.

Grunt is tightly connected to the vision of Freak Animal Records label and has also handful of other forms, what can be understood as projects of their own or simply branches slightly separated from the main project.


Early years of Grunt was trying different kinds of directions. Earliest recordings was created by merely tuning down guitar strings until they were hanging loose over the guitar microphones and making rumbling noises. Lack of any kind of effects or even amplifiers made noise the most simple and primitive wall of rumbles. Early on, it was created by borrowed equipment. Lacking possibilities to experiment and test due short periods of time equipment was available. Third release, “Industrial Madness?” (Autumn 1993), various metal objects were included in making tracks. Often rhythmic industrial noise with low tuned string abuse, radio-noise, vocals, metal junk noises. Still some musical elements were tried, influenced by industrial bands like Godflesh or Einstürzende Neubauten. Half of the material remains unbearably clumsy, yet traits of what is about to come could be heard.

Early on, I had very little knowledge of noise as “scene” or “phenomena”. Early days of Grunt were influenced by the bigger names, such as mentioned Godflesh, Einstürzende Neubauten, live video footage of Swans, and Finnish punk-scene originating noise mongers who had just published their debut works in 1991/1992: Bizarre Uproar and Unseen Noise Death.


Various recordings approaching the sound from a “band” perspective was made at the same time while experimenting also as solo. There exist recordings which were clumsy industrial percussion with guitars and bass playing with clear instrument sound. There was also more noisecore influenced materials, which both were bound to be left aside. In this period of not even fully knowing what exactly should be done, there was no idea who could be interested to even hear these releases. If anyone. These early tapes existed pretty much less than 30 copies made. Strong recollections of shattering this utter outsider feeling still remains in my brain. When writing to publisher of Icy Illusions compilation tape series (Czech Republic) that I would like to publish Grunt 7″, but I doubt there exists people who want noise records, he briefly explained reality is very different. I received letter explaining that in Japan there is actually labels who have put out CDs and even up to 50 titles. This information simply blew my mind and from this moment of receiving addresses of Alchemy Records, GROSS, Endorphine Factory and RRRecords (USA), I knew when next tape is done, I will write everybody and find out all what I can. Until now, I had considered every noise band be utmost anomaly and isolated case.

With the growing serious intentions, later in 1994, new era of sound was introduced. When getting first own multi-track recorder, things started to progress. Simplest possible 4-track tape recorder, with no EQs, no aux, only two lines in. Volume and panning knobs for each channel being only “post production” possibilities. With addition of one cheap plastic microphone and 12W Marshall rehearsal amp, with nothing but enthusiasm and time, things started to take better direction. More experience in making connections with the few devices available resulted creating interesting results, most of all with internal feedback.

Putting situation in context: this was a underage teenage boy living in small town near Russian border, with no information how other people did their works and at this point merely access to few international artists such as Man Is The Bastard and Gerogerigegege. I was utterly clueless about effects as well as didn’t know of existence of devices such as “analogue synthesizer”. I had never seen one and never thought how such sounds are created! Only by accident, I learned that if plugging my cheap package-stereo system in loop with 4-track (4-track output to stereo-in, and stereo headphones to 4-track input) and turning channel panning to left and adjusting graphic equalizer, I could create the sounds I liked.

Sound took direction closer to old power electronics, even if that was hardly conscious intention. Many of the recordings were buzz of electronics and feedback, radio-noise and some with vocals. 

“One Animal Above The Others” tape was result of this new direction, and it was mailed to labels I had heard of. As result RRRecords and G.R.O.S.S. replied and while latter was at the time way too expensive to purchase items, RRRecords and especially its recently lauched Pure CD series were instant mindblowing influence. Extensive tape trading offered possibility to quickly educate myself with vast history of genre and in matter of months, situation had moved from being clueless outsider into not only being hungry student of past, but also starting to get in touch with other noise makers – small and bigger.

Still all early recordings came out as cassette tape releases, being distributed in small editions between 15 and 150 copies, most being closer to 50. Many of them went through trading to various small noise artists as well as people from other scenes, who many disappeared from the scene, resulting that hardly anyone currently involved in international noise scene has ever heard the early recordings. In 2012 Industrial Recollections launched project to digitalize all ‘90s tape material into CD format which allows whole decade worth of obscurities be heard – often for the first time!


Early 1995 until summer was some of the most productive times of Grunt. Recordings during these times took place, if not daily, then at least weekly basis. 1995 was the time when Grunt slowly started to make more and more connections among the international noise community, with putting out recordings on other people’s labels and getting distributed by well known distributors of the time. It remained relatively low profile still for the upcoming years. Even if being involved with international scene, there was never intention to focus any particular side a la “harsh noise” or “power electronics” scenes, but remain somewhere between, where all the noisy sounds melt together into bizarre mix.

First live show was played in 1995. There was prepared metal object to be amplified and drum machine to create electronic effects, yet utter failures in technical know-how, and last minute changes on stage, led to doing it with traditional instruments and session members: guitar feedback, vocals, drums. Not very successful result caused long break until next attempt to perform live.

Getting introduced to first effect pedals in Summer ‘95, changed approach to the sound. While all 1995 was created with borrowed effects (of Temple Of Tiermes), in winter 1996 I would finally gather enough money to buy large guitar multieffect.

Possibities of multieffect were drastic, and use of heavy delay effect on screaming vocals and abundance of echoing metal junk and droning feedback became traditional Grunt elements what continued for years. To the point of ultimate overdose, one could say. The main influences of the time were taken from Masonna, Gerogerigegege and Ramleh.

In very first releases, my intention was to mix “political” or “social” themes among the music, but for period of time, perhaps by strong influence of Japanese noise, I intentionally rejected “message”. Focus was purely on sound and vocals were aimed to be sonic effect, just like in Masonna, Hijokaidan or Gerogerigegege. I remember writing with contacts abroad, discussing about never-ending topics such importance of content vs. pure sonic content as well as which is more inspiring, the sheer energy of Japanese noise or dark and strong subject matter of power electronics/industrial noise. It seems weird now, that even in some (lost?) ‘zine interview I recall explaining how I try to reject cliches such as porn or violence, because they are done already. While such content actually is the best known side of Grunt’s later works! While releases from ’93-’95 dealt with state, religion, death, pollution, waste, junk, military, etc. ’95-’97 was slowly bleeding into absurdity some vague weirdness. 


From 1997 you can see another clearly new milestone of Grunt. From experimenting simply by terms of what effect results what kind of sound and how to layer things to make it interesting, it felt necessary to move into better constructed recordings. There came need to focus more into planned and composed recordings. All these intentions and approaches bleed over each other in chronology, but 1997 marks the time when Grunt returned back to using lyrics. And not only occasionally, but predominantly.

While in past recordings were never processed from pre-recorded sound, in late ’90s method of creating loops out of pre-recorded source sounds became trademark of Grunt sound. In early days I had obsessive attitude against “pre-recorded” sounds, as if they were not as real as the ones you could create on the spot. I did not manipulate tapes, but create each track from live electronics or physically made sounds.

This new 1997 sound was hardly anything new for Grunt, but simply refined approach which made distinctive difference in typical ’96 versus typical ’97 or ’98 recording. Crushing, heavily repeating loops with near random metal junk noise and feedback on the top, with furious effected vocals and spoken word samples. Those were they key ingredients what perhaps made tapes such as “Europe After Storm”, “Someone Is Watching”, etc. rise above many of low profile Grunt tapes and eventually be re-issued on CDs for wider circulation much earlier than most other ’90s works.

There was never intention to make too similar sounding releases. Grunt is usually labelled as “power electronics noise”, even if that is perhaps just half truth. There is brutal edge of harsh noise and use of different sound sources, what is missing from many of those who rely solely on synthesizers and/or computers. There’s no limit on the sound sources or subject matter what Grunt uses. It always reflects the state of mind of current period of time. Most often intent of diversity of sound would slightly confuse the progression. Musical intent of many releases was to create diversity. Something what you could find most of all from compilations of the ’90s. “Noise Forest”, “Come Again II”, “Dedication”, “Tension State Collapsing”, “Neuengamme”, “Journey Into Pain” and such were often higher influence than individual bands. There was no intent to make releases that were “pure” something, but attempts to build releases where diversity is wide enough to sound almost like compilation. This method has its advantages, but also in reality it meant that there hardly was a REAL album of Grunt released until very late. Bunch of splits, collaborations, sometimes build from tracks of various sessions. First Grunt CD “Perfect World” was pretty much just collection of unrelease yet unrelated tracks what happened to lay around. “Terror And Degeneration” was published in various forms during the years. “Europe After Storm” was solid 30 minutes tape, but when re-issued on CD, live tracks and bonuses were included making it rather compilation than real album. Basically one could say first real recording intended as album of Grunt was “Seer of Decay” as late as 2006!

Perhaps this was also advantage. To me it always appeared that Grunt hardly belonged among “the real noise bands”, let’s say K2, Richard Ramirez, Macronympha and such. But it didn’t stop from co-operations. I also felt with such a random and chaotic approach, Grunt was hardly to be grouped with conceptually and musically solid bands like Genocide Organ, Con-Dom or Brighter Death Now. But also ended up sharing stage with those and operating among same distribution networks. This lack of clear direction allowed to keep moving. Even after bigger profile power electronics CD, Grunt could make follow up as ltd 50 copies harsh noise tape. And it would still make sense – at least to same extent as anything happened in past.

Grunt has hardly ever played with mystery. Project has been so closely related to Freak Animal as label or my works as “journalist” within the genre, it must be obvious Grunt hardly is fruits of actual outsider or isolated “independent” artists. It is without no shame influenced by others, inspired by others and mirroring itself with entire history of genre(s). Grunt never attempted to copy very narrow style, therefore vast amount of influences eventually melt into what is Grunt.

In 1998, seeing Con-Dom perform live in Stockholm, Sweden, was first possibility to see how “noise band” performs live. With failure some years earlier, Con-Dom’s approach of relying heavily on backing tapes and focusing simply on vocals, appeared as only possibility. Especially when sound of 1998 was something what I felt was impossible to re-create on stage. 3 live shows played between 1998-2000 was always based on tape playback, where live vocals and some minor additional electronic noise added live feeling. It took until first offer for gig abroad in 2002 to finally decide to abandon all background tapes and focus on real sound creation in live situation.

By the end of ’90s entire Grunt approach had changed for publishing. It was no longer so important to have releases. It felt more interesting to focus on less, yet more content focused releases. While looking at gaps in discography, it appears as if I stopped making noise in same scale. This is merely illusion. Fact remains turn of millennium spawned vast amount of Grunt related side projects as well as involvements in other bands/projects. And extensive live activity in form of Grunt.


While most of ’90s works were created in relatively quiet methods, moving into new millenium meant also changes in volume for some releases. Some of this era Grunt recordings (“Last Grip To Sanity”, split LP with Taint and split tape with have been utilizing loud recording methods. First time also analogue synthesizers were used among other things. Doing studio-live recordings with PA system, and later mastering or editing the final touch. This gives new touch to the sound, compared to material which is created with low volumes by using field recordings, electronics/effects or other such sources.

Some of the processed field recording/sample/vocal based tracks could be heard on V/A “Don’t Hunt What You Can’t Kill” 3xCD, “Hanging high on every streetlamp” card CDr, etc. As opposed to studio-live violent recordings, some of these are very high-tech and crystalline sounding.

Since most of Grunt material is being released quite late after it’s completed (for example most of material released 2000-2003 dates back to ’97-’98), it’s hard to pinpoint form what Grunt has in specific moment. For creator and future listener they manifest in entirely different light. For example, big part of most relevant Grunt recordings of 2004 were scattered into split tape, tour compilations and left unreleased until 8 years later finally whole thematically & sonically suitable material was collected as “Long Lasting Happiness” CD. Some of the best recordings of the time remained unheard for nearly decade!

After doing first all-live sound live show in 2002, it was noticed that live situation brings new kind of challenge for creating material. First gigs were still about learning how to manage to create desired sound live, but after 5 shows in 2004 it seemed that right tools and methods had been found.


Early 2005 was released 5 vinyl LPs of Grunt. Half LP versions of stuff what earlier came on CDr. Despite large number of releases, there wasn’t really properly done “album” for Grunt. All solo LP/CD releases have been collections of previously released tape/CDr material, or live recordings.

Grunt did first longer tour, 5 gigs in Japan in April. Also long time first Grunt solo show in Finland. All of these were noisier and more improvised gigs. Same methods were used in UK gigs in late 2004. This allows gigs to be spontaneous, when none of loops or sounds have been prepared in advance. Possibility of failure adds some excitement, and few times due malfunctioning minimal equipment, shows have transformed into full force random harsh noise. For new tour in UK, equipment was stripped down to the absolute minimum, removing all the unnecessary gear. No synthesizers, no samplers, no MD or CD players and so on. Shows were played without backing videos, keeping them short and to the point. Later 2005 followed with couple more live shows and growing amount of new releases, making Grunt look more active than ever before. 


Since releasing “Seer of Decay” 2xCD, Grunt avoided any new “major works”, only live recordings on tape format and contributions for small scale releases, compilations etc. Focus of attention was on live shows around the world, and finally in 2009 there was being published 3xCD box set with live documentation of those years, pretty much all the successfully performed (and recorded) gigs from live actions 23 to 41. Few unrecorded gigs do not appear on the box set. This set sums together well the time after album, and upon its release decision was made to fade live activity down in favour of more attention to studio recordings.


“Petturien Rooli” album was completed in September 2009. On and off recording process during three years resulted in most diverse and most experimental mix of Grunt releases so far. Leaving away the previously “obligatory” harsh noise blasts, in favour of more textured and detailed and experimental approach to PE/industrial-noise.

Source sounds and equipment utilised in recording included various metal objects, wood, water, stones, glass, sand, mud, concrete, tools from shovels to lawnmover to cement mixer, metallic pipes (wind instrument), radio transmissions, digital keyboards, analogue synthesizer, analogue walkman with field recordings and tape manipulations, 8-track MD, 4-track analogue tape, digital hard-drive recorder for field recordings, various effects, bass-amp, PA system, guitar-amp…. Extensive research on suitable locations or equipment to produce needed sounds was always done with the wholeness in mind. Sound varied from intentionally damaged and fierce brutality to soundscapes that are carefully EQed and adjusted for maximum range of sonic qualities. Intent was to keep the spirit of old experimental industrial-noise there. Something what was missing from a lot of modern recordings what are ultra compressed and maximally distorted to flat sterility. “Petturien Rooli” album never aimed to compete with volume and join the 0dB maximum compression club. Its dynamic variation goes from quiet to loud, frequencies from highest to deep sub-bass pulses. It could be interesting for fanatics of PE as well as those looking for more experimental edge on sound.

Since “Petturien Rooli”, this direction has only been refined further. For band to exists, it has not been important to make publications, but it exists most of all on theoretical level, but also in form of experiments. Vast amounts of recordings have been done, with no intent to publish them. There has been given attention to extensive equipment as well as stripping down everything to bare minimum. Basically rejecting the dominance of effects, returning back to more rugged and grainy elements known from earliest years. 


Since “Petturien Rooli” CD (2009), there has not been much else than re-issues, live material and few compilation tracks by Grunt. It certainly have not meant anything else than preparation for the new full length assault. 10 tracks abuse diverse approaches. From tape manipulation, crushing loops, classical instruments, deep tones, concrete sounds and dry sonic elements stripped to be bone as well as multi-layered into complex compositions. Grunt pours in loads of different sound elements, different sound qualities and experimentation, yet from other end of meatgrinder emerges the solid mix of ugly power electronics in form of “World Draped In A Camouflage”.

Since publishing “World Draped In A Camouflage”, Grunt has been performing in Finland and abroad (Belgium, UK, Lithuania, Sweden,..) as 2 member unit, playing mostly variations of album tracks.


When live activity was stopped at the end of 2017, this marked shift of focus on recordings. Between Castrate The Redeemer LP/CD and Spiritual Eugenics 2xLP/2xCD album appeared smaller 3″CD released Kraniometria. It displayed the Grunt activities from another angle. Hours and hours of recordings exists, that are not intended to be published. This 3″ shows people the more pure noise side of Grunt.

Besides pure noise, experimental soundscapes and all sorts of different approaches Spiritual Eugenics album was accompanied with three video clips where one can see small glimpse of Grunt when it operates in form of sculpture, collage, street-art and such thing. Most of the activity is not made for sale or for specific audience, and in moment when multinational platforms control big part of underground expression and unsatisfactory global uniformity flattens the publishing and distribution, Grunt has intentionally crawled deeper into its own ways of existence.

2022 was published “Hehku” CD, which was firm step away to break the “template” of former albums. Combining poetry (in Finnish), harsh industrial-noise, hand made special packaging, where every step of production was done by Grunt. From cutting cardboard, printing booklets, glueing, stamping assembling and of course distributing it.

None of changes are permanent direction. During 2021-2022 was recorded smaller releases, 7″ and 10″ vinyl recordings that present more the song-oriented power electronics / industrial sound. Future will most likely be more like early days of Grunt, where multiple different types of approaches are being made public.


marks 30 years of Grunt. New releases. Compilation tracks. Gigs.


Discography listing is messy. Generally the original release is listed to each year. Not all reissues are listed, some are, to year when they were reissued, not into original recording year.


Grunt / Total Headfuck -split C-20 Nykto-tapes/Insecure prod. (Fin)

Grunt / A.N.H. -split C-60 Nykto-tapes/Insecure prod.

Grunt “Industrial Madness?” C-30 Nykto-tapes


Grunt / Futile Existence -split C-16 Scattered Productions (Fin)

Grunt “One Animal Above the Others” C-30 Freak Animal Records (Fin)


Grunt “The New Form of the organic machine” 2xC-60 Freak Animal Records

Grunt “Collapsing Welfare State” C-30 Freak Animal Records

Grunt / Pile of Eggs -split C-90 Egg Scab Radio (Usa)

Grunt / Oral Climax -split C-30 Freak Animal Records

Grunt / Wanting to Work With Clay -split C-30 Freak Animal Records

Grunt / Outermost split C-20 Cat Move (Jap)

Grunt “040695-080895” C-60 Kubitsuri tapes International (Jap)

Grunt / Bizarre Uproar split 7″ep Freak Animal Records/Bizarre Uproar (Fin)

Grunt / Japanese Torture Comedy Hour -split C-30 Freak Animal Records

Grunt / Yggrasil -split C-30 Freak Animal Records/Darkness prod. (Ger)


Grunt / Woundead / Bizarre Uproar -3-band 10″LP Freak Animal Records/Merwi Records/Bizarre Uproar (Fin)

Grunt / T.D.B. split&collaboration C-30 Freak Animal Records

Grunt / Krachgau -split C-40 Bawler tape prod. (Ger)

Grunt / Gestörte Nachbarn -split C-30 B-Gore records (Spa)

Grunt “Night Havoc” C-30 Freak Animal Records

Grunt “Two Episodes” C-16 Scattered prod. 

Grunt / Lasse Marhaug “Mad Emperor Anal” split&collaboration C-30 Freak Animal Records

Grunt / Aube -split 7″ep Freak Animal Records

Grunt / Aube -split 10″LP Freak Animal Records

Grunt / Hermit -split 7″ep Freak Animal Records/Garbage Society Communications (Can)

Grunt / Love Hole -split 7″ep Freak Animal Records/Mies Levyt (Fin)

Grunt / Alchemy of the 20th Century -split C-30 Kadef (Ger)

Grunt “Theories of the dream machinist” C-60 Worthless Human Flesh Records (Can)

Mikko Aspa / John Olson “Oats Omen” collaboration C-60 American Tapes (Usa) This item was often listed as part of Grunt discography, although release itself was published under artists names.


Grunt / Kapotte Muziek -collaboration 7″ep Freak Animal Records

Grunt / Cosmonauts Hail Satan -split 7″ep Freak Animal Records/Secret Devil Records (Uk)

Grunt / Richard Ramirez -split&collaboration LP Freak Animal Records

Grunt / K2 collaboration LP Freak Animal Records/Kinky Musik Institute(Jap)

Grunt “Perfect World” CD Les Disques Bruitistes (Fra)


Grunt / Macronympha -split LP Freak Animal Records

Grunt / Facialmess -split LP Freak Animal Records

Grunt / Lasse Marhaug / Bad Kharma “Scandinavian Noise Manifesto” CD Freak Animal 

Grunt “On the Other Side of the Walls” C-30 Nail Releases (Ita)

Grunt “Someone Is Wathcing” C-60 Force Majeure (Fra)

Grunt / Deison “Control Zero” split C-20 Loud! (Ita)

Grunt “Europe After Storm” C-30 Spite (Usa)


Grunt “Addicted” 7″ Kubitsuri Tapes

Grunt “Live – Lahti” video Freak Animal


Grunt “Terror and Degeneration” CDr Freak Animal


Grunt “Welfare” 7″, Freak Animal Records

Grunt “Europe After Storm” CD Force Majeure, re-release of tape +40 minutes bonus material!

Grunt / Sickness -split CD-r Ninth Circle Music (Usa)

Grunt “Terror And Degeneration” cass album, professional tape version of same CDr, DRCR (Pol)


Grunt/Cloama “Valkoinen Kuolema/Belyi Smertz” split CD Freak Animal

Grunt / Perkust -split & collaboration CDr Hammasratas (Fin)

2003: 10 years anniversary

Grunt “Last Grip To Sanity” CDr (Freak Animal)

Grunt “Early Years 93-94” CDr (Freak Animal)

Grunt “Short tapes #1” CDr (Freak Animal)

Grunt “040695-080895” CDr (Freak Animal)

Grunt / -split C-30 (Freak Animal)

Grunt “Hanging High On Every Streetlamp” mini CDr Pac Rec (Usa)

Grunt / Taint “Schoolyard Bruises” split LP (Anti-Humanism, Bel)


(only compilation tracks)


Grunt “Last Grip To Sanity” LP (Freak Animal)

Grunt “Terror” LP (Freak Animal)

Grunt “Degeneration” LP (Freak Animal)

Grunt “Live UK / Midnight Inspiration” LP (Freak Animal)

Grunt / Gelsomina -collaboration LP (Freak Animal)

Grunt / Montage “Ultimatum / Destruction” CD (Monotype, jap)

Grunt “Installation of Blood and Iron” tape (Harsh Head Rituals, swe)

Grunt / Cloama “Nausea Of Humanity” collaboration CD (Freak Animal)

Grunt “Recycled” tape (RRRecords, Usa)

Grunt “On the edge on cultural apocalypse” 3″ CDr (L.White Records, ger)

Grunt “Pricess Dreams / Bruises of Cash / Live in USA” CDr (Misanthrope Studio, Usa)


Grunt “Dead Beauty” 7″ (Freak Animal)

Grunt “Trite” DVDr (Freak Animal)

Grunt “Seer of Decay” 2xCD (Freak Animal)

Grunt / Mutant Ape split C-10 / 7″ lathe cut (Alpha Male, uk / lathe cut private edition)

Grunt / Prurient split tape (Freak Animal)


Grunt “Installation of Blood And Steel” LP (Harshhead Rituals, Swe)

Grunt “Live Japan” 2x tape (Freak Animal)

Grunt “Charred Empire – live UK 2005-2006” 2xtape (Freak Animal)


(only compilation tracks)


Grunt “Documentations ” 3xCD (Freak Animal Records)

Grunt “Terror & Degeneration” CD (re-issue, Industrial Recollections)

Grunt “Petturien Rooli” CD (Freak Animal)


(only compilation tracks)


Grunt “Someone is Watching” CD (Force Majeure, fra)


Grunt “Ritual Of Mortality” tape (IOPS)

Grunt “Long Lasting Happiness” CD (Industrial Recollections)

Grunt “World Draped In A Camouflage” LP/CD (Freak Animal)

Grunt “Dance For The Genocide” tape (Freak Animal)

2013 (20 years anniversary)
focused on playing live shows


Grunt Archive: 90’s Tapes ‎(10xCD + Box, Comp, Ltd)

Sacrosanct Imperium tape (and later 12″ vinyl)
Grunt – Myth Of Blood LP/CD
Grunt “survivalists” tape


Grunt – Chance To Be Cruel tape
Grunt – Swarm Of Parasites tape


Grunt / Bizarre Uproar / Deathkey / Caligula031 – Beyond LP/CD


Grunt – Castrate The Illusionist LP/CD

Grunt “Sacrosanct Imperium” 12″ (reissue of tape)

Grunt / Jukka siikala split LP (half noise, half painting)


Grunt “Kraniometria” 3″CD


Grunt – Spiritual Eugenics 2xLP / 2xCD


Grunt “Perfect World” CD (1997 cd reissue)
Grunt “Last Grip To Sanity” CD (reissue of CDR)


Grunt “Hehku” CD new album

Grunt “Lone Wolf” 7″

Grunt “Cast Iron Hand” 10″

Grunt “Installation of Blood and Steel” CD reissue of tape

Grunt / Richard Ramirez “modern beliefs” CD reissue of LP 1997


Grunt “Vieraat Aivot” CD


V/A recordings between ‘94 to this day, not in any specific order! (+(and some, especially early ones, might be forgotten…):

V/A “Degenerating Finland” CD (Freak Animal Records)

V/A “Evolution of the Mutants Species” -comp. C-60tape (Chaotic Noise prod, (UsaUSA)

V/A “Freedom compilation” 2xtape (Distorted Vision, (UsaUSA)

V/A “Grey Minds from an Empty Hole” -C-60tape (Bizarre Audio artsArts, (Ecuador)

V/A “Loud! in your Ears” (Loud! (Italy)

V/A “Madness Incarnate 1” tape (VEP, (Germany)

V/A “Mandatory Marathon” 4xtapeC-90 box + booklet with 15 minutes of Grunt. (Amendment records, (UsaUSA) rip-off label! Almost none bands received free copies.

V/A “Neuropeanoise” tape (Loud! (Italy)

V/A “New Catastrophic Forces” 2xtapeC-60 + C-90 set (United Syndicate, (Japan)

V/A “Penus Rectus” 3xC-90tape set (New Noise, (Holland) tracks of about 30 other bands too.

V/A “Rudi Rat#6” 2xCD (Ecocentric Records, (USA)sa)

V/A “Smile! You’re on camera !” CD-rR (Abhorrent Creation tapes, (France)

V/A “The Rain of Fish” tape (Split eEye) (name is not sure, tape doesn’t say it clearly!?)

V/A “Transmissions of Power” CD-rR (Open Wound (United Kingdom))

V/A “Deafness is not a gift” CD (Deafborn (Germany)records)

V/A “500 lock grooves” LP (RRRecords (USA))

V/A “Crust X Grind compilation” CD Grunt mixing Irritate! (No Fashion HCrec) (Brasil)

V/A “Paraphilia Worsh(wh)ip” CDr CDR (Mainteinance, (Italy) rip-off label! Never send free copies and never answered multiple e-mails sent to them.

V/A “Pornography Hhurts” CD-rR (Taint entertainmentEntertainment (USA))

V/A “Don’t Hunt What You Can’t Kill” 3xCD (L.White (Germany)Rec)

V/A “Field Tales” 3xtape box Hospital Pproductions (UsaUSA)

V/A “Melting Works” 2xCDr (Hammasratas (Finland))

V/A “Getting Away with Murder” CD  Eternal Soul (rec (Ggermany)

V/A “What it This is Is all All aboutAbout” CDr CDR (Antihumanism, (Belgium)

V/A “Viva Negativa!” Tribute to TNB – tnb remix stuff 4xLP Vinyl On Demand (Germany) and CD Auf Abwegen (Germany)

V/A “Siis: A Finnish Noise tribute Tribute to To the The Haters” CDR 26 Volts Of Danger (Finland)r

V/A “Nihilistic Paraphilia” 3″CDRr (Freak Animal)

V/A “st St bartholomew’s Bartholomew’s dayDay” 2x tape (Cipher Pproductions (Australia)

V/A “Sicktron” tape (Black Arts, (Finland)

V/A “The end End Ffor Ssimulation Of Pro-Ccreation” tape (Institute of Paraphilia StudIOPSies)

V/A “Noise vs. Glamour ‘06” CDRr Vainohulluus (finFinland)

V/A “Audial Decimation vol Vol 1” CD (Audial Decimation, usa(USA)

V/A “Nihilistic Paraphilia vol Vol 2” CDR (Freak Animal / IOPS)

V/A “NYRKKI & KYRPÄ” tape (Filth & Violence (Finland))

V/A “Nitro Dragsters -– A tribute Tribute to OVMN and The Incapacitants” 2xCDR Militant Walls (Canada)

V/A “Cadaverize Yyourself” CDR RONF (Spain)

V/A “Hated Perversions” CD Freak Animal

V/A “Animal Bizarre” tape IOPS

V/A “Gender without With No Purpose, Other Than… other purpose” tape IOPS

V/A “Tied To And Abuse” 2xtape Nil By Mouth (Italy) 

Various – Viva Negativa! A Tribute To The New Blockaders Vol. II Europe ‎(2xCD, Comp, Ltd) Various – Animal Bizarre 1 ‎(Cass, Comp, Ltd, C30) Institute Of Paraphilia Studies
Various – Viva Negativa! – A Tribute To The New Blockaders ‎(7xCD, Comp + Box, Ltd) At Grunt – Antihumanism: 10 Years Compilation album art
Various – Acts Of Vengeance – UFoI II ‎(Cass, Comp, Ltd, Num, C88) United Forces Of Industrial UFoI 02 2015
Various – Projekt Neue Ordnung II ‎(4xLP + Box, Comp, Ltd, Num) Tesco Organisation
Various – 4th World: Afterworkpopsongsforchildsoldiers ‎(Cass, Comp, Ltd, Num) Zaetraom
Various – Certified Dead ‎(CD, Comp, Ltd) Death Continues Records DCRCD013
Various – Metalchemy ‎(CD, Comp) Phage Tapes PT:293 2019
Various – Leather ‎(Cass, Comp, C30 + Box, Ltd, Num) Institute Of Paraphilia Studies
Various – Breathing Wounds ‎(CD, Comp) Not On Label

Various – Unio Solidarium 2xCD 2022

Various – Long Live The Death Of Video Tape / CD, IOPS 2022

Various – L.White CD

Various – New Hate tape

Possibly more compilations. Once in a while something is forgotten to add.

– – –


V/A “Freak Animal Festival” VHS (Freak Animal Records)

Grunt “Live Lahti” VHS Freak Animal Records

V/A IOPS 1, 2, 3, 4, 5, more DVDRs.

V/A “degenerating Degenerating fFiinland Llive” DVDRr Freak Animal

V/A “Stöyfest” DVDR Freak Animal

Grunt “Trite” DVDR Freak Animal

Grunt “Decadence Of Flesh” DVDR Freak Animal


Note: There has been former live show lists where number of performance is different. Some gigs has been forgotten to be included in older documentation. It is possible there was more shows, that will be added with details later on. If you know gig that is missing from list, get in touch!

1) 1.4.1995 Joensuu
Live noise contribution by Woundead and some others.
-random noise
No background video, no flyers.
published on split tape with P.O.E.

2) 26.9.1998 Lahti
-White Cloning
-Age of Degeneration
-Addicted To Authentic Violence
-Underground Organization
-No More Calmness Of Tolerance

3) 10.6.1999 Turku
Live electronics contribution by
-Project Eden
-Hitler Klinton
-Ethnic Cleaning
-Revenge Tactics
-Belyi Smertz
-Verinen Lumi
Part of tracks published on Europe After Storm CD

4) 3.6.2000 Mäntsälä
Collaboration with Cloama
-Nausea of Humanity
-Confession of the Degeneration Fetishist
-Power of Pain
Published on Kaos ex Machina II 2xCDR

5) 16.11.2002 Lille / France
-Bruises of Cash
-To Not Care…
-Am I Teasing?
Live show was combination of 15 minutes of Grunt solo, 15 minutes of solo and 15 minutes of Grunt + collaboration. Collaboration part was improvised.

This was also first live shows (except the 1st ‘95 show of different style) with 100% live sound. No playback or pre-recorded stuff of any kind. All sound was created live on stage. (This was first show outside Finland, as part of the Deadly Actions V festival arranged by Nuit Et Brouillard. For the first time sound was all created on stage without any pre-recorded materials. Also video footage projected to the screen was created & edited by myself. More live photos should be available at Nuit Et Brouillard website. Visit: )

6) 26.03.2004, New York City / USA, Thicker Than Water
Grunt, Deathpile, Slogun, Taint, Control, Bloodyminded, Viodre. Show was stopped in less than 1 minute by police arriving in front of venue.

7) 27.03.2004, Providence / USA, The Living Room
Grunt, Slogun, Taint, Control, Suffering Bastard, Unearthly Trance, Bloodyminded, As All Die, White Mice, Em Dath Rir. Circa 25 minutes.

8) 28.03.2004, Boston / USA,The Midway Cafe
Grunt, Slogun, Taint, Control, Karlheinz, Sickness, Prurient, Bloodyminded. Circa 22 minutes.

Three dates mini tour in USA organized by Force of Nature. Recordings appear on Princess Dreams / Bruises of Cash” CDR.

9) 01.10.2004, London / United Kingdom, Red Rose
Grunt, Cloama, Slogun, Sickness, Control, Skm-Etr. 20 minutes solo set and in the end of night 7 minutes live collaboration with Cloama featuring Anti-Child League & Sektion-B. Solo set included video projection filmed exclusively for the UK shows, despite in Leeds it was not shown.

10) 02.10.2004, Leeds / United Kingdom,Termite Club
Grunt, Cloama, Slogun, Sickness, Control, Skm-Etr, Bongoleeros. 15 minutes. No video projection, only noise.

11) 06.04.2005 Kobe / Japan, Big Apple
Grunt, Rulla, Aino, Montage and local musician. 

12) 07.04.2005 Osaka / Japan, Bears
Grunt, Rulla, Aino, Aube, Montage.

13) 08.04.2005 Kyoto / Japan, Café Independants
Grunt, Rulla, Aino, Busratch. 

14) 09.04.2005 Nagoya / Japan, K.D.Japon
Grunt, Rulla, Aino, Montage and local musician.

15) 10.04.2005 Tokyo / Japan, 20000V
Grunt, Rulla, Aino, Incapacitants, Montage.

Great Japanese tour organized by Monotype Records. Bigger and smaller shows. Some with video projection, some without. Good crowd reactions. Tokyo being most maniac in 20000V.

Japanese tour, mini-analogue synthesizer, vocals, scrap metal. All gigs improvised.

16) 07.05.2005 Turku / Finland, Klubi
Grunt, Genocide Organ, Zoat Aon. First live show in Finland for very long time. Lots of equipment malfunction. Video of hardcore filth.

17) 21.8.2005 Newcastle / United Kingdom
Grunt, Emil Beaulieau, Prurient, Jessica Rylan, Romance, Putrefier, Sudden Infant, Snotnosed, Culver.

18) 22.8.2005 London / United Kingdom, Resonance radio live
Grunt plays Emil Beaulieau, Prurient, Jessica Rylan. Emil Beaulieau felt sick and tired, and for this live radio-noise, instead of him, radio live of “emil beaulieau” was performed by Grunt using Emil Beaulieau double LP as source material.

19) 24.8.2005 Notthingham / United Kingdom
Grunt, Emil Beaulieau, Prurient, Jessica Rylan, Onomatopoeia, Birds of Delay, Bongoleeros.

20) 26.8.2005 Bristol / United Kingdom
Grunt, Emil Beaulieau, Prurient, Jessica Rylan, Consumer Electronics, Sudden Infant, Bear Faced Boy.

21) 27.8.2005 London / United Kingdom, Red Rose
Grunt, Emil Beaulieau, Prurient, Jessica Rylan, Sutcliffe Jügend, Birds of Delay

22) 29.8.2005 Eastborne / United Kingdom
Grunt, Emil Beaulieau, Prurient, Jessica Rylan, Onomatopoeia, Deepkiss 720.

17 – 22 great tour with Yankee Knowhow, organized by Harbinger Sound. On this tour, bunch of guest bands played one or more shows. Grunt was scheduled to play basically any night when there is time for it. Eastborne gig, Grunt played two shows. As first and the last performer. All gigs published on UK live tape set. This tour was using two efx units, scrap metal, feedback and vocals. Each gig improvised without pre-prepared sounds.

23) 30.9.2005 Helsinki / Finland, Semifinal 
Grunt, Sewer Election + Treriksröset, Gelsomina + Rulla, Killer McHann, Borbetomagus.

(Included first projection of Grunt video “Trite”, with Addicted To Authentic Violence 2005 version, Dead Beauty and couple other tracks).

24) 15.10.2005 Berlin / Germany, Consumer Electronics #6 festival
Grunt, Sektion-B, Slogun, Control, Sickness.

Included “Dead Beauty” video with tracks Addicted To Authentic Violence 2005 version, Caught, Dead Beauty and couple other tracks. One of the most successful shows what comes to sound / vocals etc.

25) 17.3.2006 New York / USA, No Fun Festival

26) 1.4. 2006 Lappeenranta / Finland, Husaari
Grunt, Satanic Warmaster, Kadotus, Goatmoon.
Included tracks: Patriot Stamina, Addicted to Authentic Violence, Seer of Decay, and more. No video, only live-noise.

27) 7.10.2006 Vilnius / Lithuania, Nordic Audio Modern @ Vault Undergroundclub
Megaptera, Troum, Desiderii Margenis, Des Esseintes, Karjalan Sissit , The Protagonist, Gustaf Hilderbrand, Visions, Aeoga, Grunt, Pain Nail.
Included tracks: Decadence of Flesh, Razor Cuts, Age Of Degeneration 2006 version. First projection of “Decadence of Flesh film”).

28) 14.10.2006 Helsinki / Finland, Noise & Glamour @ Rauhanasema
Flower, Radiokatve, Sadkarma, Haeretici 7o74, Project 503, Grunt, Pain Nail, Monopolka, Siniaalto, Bardoseneticcube, Noises of Russia, Can’t.
Included tracks: Decadence of Flesh, Addicted To Authentic Violence, Decadence of Flesh #2. 2nd projection of “Decadence of Flesh” film.

29) 14.11.2006 Jyväskylä / Finland, Huoneteatteri
Grunt, Prurient, Carlos Giffoni.

30) 19-20.11.2006 London / United Kingdom, No Trend #2
Ramleh, Sutcliffe Jügend, Consumer Electronics, Thirdorgan, Panicsville, Deepkiss 720, Grunt, Esther Venrooy, Joe Gilmore + George Rogers, Younger + Scarr Duo, Small Cruel Party, Das Synthetische Mischgewebe, Cheapmachines, Mattin, The Good Anna, Usurper, Mark Durgan, Sudden Infant, Chora, Gate 33, Family Battle Snake, Eaten By Children.

31) 22.11.2006 Bristol / United Kingdom
Front Towards Enemy, Grunt, Mutant Ape, Shift.

32) 23.11.2006 Leeds / United Kingdom, Termite Fest @ The Fenton
Grunt, Mutant Ape, Shift, SOFA, Sex Tourist.

33) 27.11.2006 Sheffield / United Kingdom
Thirdorgan, Grunt, Das Synthetische Mischgewebe.

34) 14.12.2006 Copenhagen / Denmark
Grunt, Montage, Government Alpha, more.

35) 10.1.2007 Oslo / Norway, Stöyfest
Grunt, Sewer Election + Treriksröset, Testicle Hazard, Squamata, Röyskatt.

36) 26.2.2007 Helsinki
Wolf Eyes, Grunt, etc

37) 18.5.2007 New York / USA, No Fun Festival
4 days festival.

38) 24.8.2007 Turku / Finland, Private Show
Grunt, Bizarre Uproar, Keränen, Gelsomina, Squamata.

39) 25.8.2007 Karjaa / Finland
Grunt, Bizarre Uproar, Fleshpress, Solar Horn, Loinen, more.

40) 15.9.2007 Boston / USA
Grunt, Fire In The Head, Karlheinz, Putrefier, FFH.

41) 4.4.2008 London / United Kingdom
Grunt, AntiChildLeague, Sektion-B, more.

42) 5.4.2008 Antwerp / Belgium
Con-Dom, Grunt, Sektion-B, Shift, more.

43) Helsinki / Finland, Bunker Show

44) Tampere / Finland, Lumous Festival

45) Malmö / Sweden

46) Gothenburg / Sweden

47) Osaka Japan 8.10.2008

48) Tokyo Japan 10.10.2008

49) Pori / Finland

50) Kuopio / Finland

51) Turku / Finland

Shows 23-50 started to use sampler as one of key elements of live gigs. Each show including loops played from sampler, mini synthesizers, contact-mic’ed scrap metal, processed vocals. Often live video projections.

52) Helsinki / Finland, Helsinki Galleria
Solo show in Anti-Social Realism / You are worth it exhibition closing party.

53) 5–5–2012 – The Dome, London, UK
Grunt, Ramleh, Skullflower, Consumer Electronics, The New Blockaders, Le Syndicat, Club Moral, Giancarlo Toniutti, Esplendor Geometrico, Kleistwahr, M.T.T., Putrefier, Con-Dom, JFK, Sigillum S, Sewer Election & Treriksröset, Vortex Campaign, Lettera 22

54) 25–5–2012 – Lepakkomies, Helsinki, Finland
Grunt, Lasersonics, KSNK, Bizarre Uproar

54) 29–11–2012 – Kuudes Linja, Helsinki, Finland
Grunt, Martyrdöd, Famineyear

56) 1–12–2012 – Fylkingen, Stockholm, Sweden
Grunt, Jaakko Vanhala, Umpio, Altar of Flies, Bestializer, In Slaughter Natives

57) 7–12–2012 – YO-talo, Tampere, Finland
Grunt, Deutsch Nepal, Allerseelen, Pyhä Kuolema

58) 25–1–2013 – Club Prkl, Helsinki, Finland
Grunt, Raison d’Être, Niko Skorpio

59) 8-9–2–2013 – Kablys, Vilnius, Lithuania
Grunt, Jaakko Vanhala, MAAAA, Jiku55, Girnų Giesmės, Oorchach, Pogrom, Wouter Jaspers, Sovijus, Sala, Danil Akimov

60 ) 16–2–2013 – De Kreun, Kortrijk, Belgium
Grunt, Jaakko Vanhala, Sudden Infant, Helm, Keränen, Aqua Dentata, Tourette, Wild Classical Music Ensemble, Crucifix Eye, n0pr0b

61 ) 7.8.2013 – Helsinki, Finland

62) 14.9.2013 – Copenhagen, Denmark

63)28.9.2013 – Dresden, Germany
Tower Transmissions

64) 26.4.2014 – Lahti, Finland

65)10.4.2015 – Turku, Finland

66) 2.5.2015 – London, UK

67) 29.8.2015 – Joensuu, Finland

68) 3.10.2015 Virrat, Finland

69) 12.11.2015 – Helsinki, Finland

70) 3.11.2017 – Wrocław, Poland

Shows 53-70 marked phase of Grunt as live duo, where approach of each gig was to play variations of songs known from albums that were done at the time. Often faithful to original songs, but always live without playback. Each set included improvised exclusive material or tracks that did not appear on any releases. This era was the most advanced form of Grunt live, which most people know and remember. It was taken into logical end, but having only possibility of re-doing the same, or change the approach. For sake of keeping faithful for vision of project, Grunt has not performed since 2017 and has been planning different approach for live activity, that will cover the broad variety of approaches found on releases, not recycling one approach.

71 ) 11.8.2023 Harsh Ways Fest
Return to solo live activity. New tracks only, half slow paced screeching metal junk and half power electronics/industrial noise. Crafting sound as focus point, no video or performance. Other artists Amek-Maj, Young Hustlers, Maskhead, Unclean, Novitshok.

72) 19.8.2023 Private
Special set with mostly slow paced screeching metal junk, dark industrial-noise soundcapes and somne half power electronics. Entire set focusing at Finnish language material, including alternative version “Linkolan perintö”, plus new material. Crafting sound as focus point, no video or performance. Other artists Kaarna.

73) 9.2023 Private