men used to start posthardcore bands when they got gender dysphoria. now they are all bonesmashing and looksmaxxing and manosphereing
2025 on Tumblr: Trends That Defined the Year
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trying on a metaphor
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Cosmic Funnies
Stranger Things
let's talk about Bridgerton tea, my ask is open

Kiana Khansmith
styofa doing anything
sheepfilms
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Andulka

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@queersuicide
men used to start posthardcore bands when they got gender dysphoria. now they are all bonesmashing and looksmaxxing and manosphereing

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Happy pride to Bam Margera and HIM frontman Ville Valo! Just 2 best friends with matching womb tattoos :)
Rainer Maria
Jayson green from orchid kissing jeese F. Keeler from death above 1979
Emo BEEN gay
Mallrats (Kevin Smith, 1995)
Art James, Jeremy London, Jason Lee, and Brian O'Halloran in Mallrats
Cast: Jeremy London, Jason Lee, Shannen Doherty, Claire Forlani, Ben Affleck, Michael Rooker, Jason Mewes, Kevin Smith, Priscilla Barnes, Joey Lauren Adams, Ethan Suplee, Brian O'Halloran, Sven-Ole Thorsen, Art James, Stan Lee. Screenplay: Kevin Smith. Cinematography: David Klein. Production design: Dina Lipton. Film editing: Paul Dixon. Music: Ira Newborn.
The success of his microbudget indie Clerks (1994) gave Kevin Smith the clout and the cash to make a more ambitious feature, but some think Smith was undone by his own success, overloading Mallrats with too much plot and too many extraneous characters and incidents. This comedy about the misadventures of two motormouth slackers (Jeremy London and Jason Lee) is a bit too frantic and uninvolving, and some of its slapstick stunts centered on Smith’s duo of Jay (Jason Mewes) and Silent Bob (Smith) are poorly conceived. There’s a gross-out joke that’s more gross than funny, a bludgeoning of an Easter Bunny that comes out of nowhere, and an encounter with a topless fortune teller (Priscilla Barnes) that belongs in some other movie. You have to be a fan of Smith’s better films, especially Clerks, Chasing Amy (1997), and Dogma (1999), to be in the frame of mind to put up with the misfires in Mallrats.

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So glad to see Bam doing better and getting clean this year
Bam Margera | Toy Machine Skateboards - Jump off a Building | '98
The way he just floats away always gets me
Album Review: Orchid / Pig Destroyer – Split (1998)
Album Information
• Artists: Orchid / Pig Destroyer
• Title: Split
• Release Date: 1998
• Label: Amendment Records
• Genre: Grind-core,Emo Violence, Screamo, Power violence
• Runtime: 10:31
Tracklist:
Side A – Orchid
1. Consumed (2:11)
2. A Written Apology (1:53)
3. Pledge (1:25)
Side B – Pig Destroyer
4. Delusional Supremacy (0:24)
5. Alcatraz Metaphors (0:30)
6. Treblinka (0:23)
7. Seven and Thirteen (0:21)
8. Scouring the Wreckage (0:45)
9. Suicide Through Decay (1:01)
10. Torquemada (0:33)
11. Frailty in Numbers (0:47)
Introduction
Released early in both bands’ careers, this 1998 split between Orchid and Pig Destroyer captures a moment of pure sonic violence and raw intensity. Both acts were still carving their identities — Orchid rooted in emotional hardcore and Pig Destroyer in the rapidly mutating grindcore underground — yet the result is one of the most ferocious and unrestrained releases of the late ’90s.
Orchid – Side A
Orchid’s three tracks stretch over five and a half minutes, but every second counts. The opener, “Consumed,” begins with a slow, menacing guitar that builds into a chaotic eruption — a perfect statement of intent. The riffs carry hints of powerviolence and grindcore, pushing their screamo foundations into more abrasive territory.
“A Written Apology” continues with relentless shifts between melody and chaos, while “Pledge” closes Orchid’s side with feverish urgency, balancing emotional catharsis with pure aggression. This is Orchid at their rawest — desperate, chaotic, and emotionally unfiltered.
It’s no surprise some listeners argue these tracks edge closer to grindcore than screamo; the tone, pacing, and production feel far heavier than most of their contemporaries.
Pig Destroyer — Side B
Pig Destroyer’s half of the split is a blistering display of grindcore minimalism — seven tracks in under five minutes, each one a burst of speed and hostility. The opener, “Delusional Supremacy,” lasts barely twenty seconds yet hits with the force of a full song.
By the time you reach “Suicide Through Decay,” the set’s longest track at just over a minute, the band showcases the controlled chaos that would later define Prowler in the Yard. The sound is razor-sharp and relentless, with J.R. Hayes’s vocals cutting through like a weapon.
Every track feels like a violent snapshot — short, explosive, and unapologetically abrasive. It’s arguably the most savage material Pig Destroyer ever put to tape.
Overall Impression
Clocking in at just over ten minutes, this split leaves no time for rest. It’s fast, furious, and emotionally devastating, showcasing two underground titans at their most primal. Orchid’s side brings a sense of tortured emotion and melodic instability, while Pig Destroyer’s half is pure calculated chaos.
Together, they deliver one of the most intense and forward-thinking hardcore/grind splits of the era — a document of where raw emotion and total extremity collide.
Rating: 11/10
Orchid side: 5/5
Pig destroyer side6/5
orchid- new jerse vs vahala (LIVE)
source

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orchid // i wanna fight
credit: Holy Molar
ungdomshuset, copenhagen, denmark
i forgot your name but id be happy to
beat you to death with a pool cue
orchid - 1999
[at the fireside bowl with jerome's dream & bloody tusk]
New Aki art goes hard
white boy please do NOT bust it down sexual style

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Bayonetta fans:
Devil May Cry fans:
HEIGHT STUFF AND THE LADS HANGING OUT WHILE EGGMAN ISNT HOME