Track By Tracks: Mondo Podre - Necronomía De Subexistencia (2022)

The different tracks in “Necronomía de Subexistencia” aren’t very thematically cohesive. Some of the songs are directly inspired by the concept of the title while in others the music was written and it was even played live even before having a proper title. Almost every song is either in Spanish or Galician, our regional language.

1. Market Panopticon:

The record starts with a kind of short Wormrot-y 30 seconds cut – a short build-up followed by a d- beat riff with high-pitched vocals, a blast beat, the build-up again and... That’s it folks, Grindcore.

It’s also the only song in English in the entire album. The lyrics are an ironic take on the mass surveillance and privacy violations that the modern Internet businesses and social media are based on, data mining and profiling its users in an era when being disconnected from it all is both undesirable and really inconvenient in many ways. So we just suck it up and ask Alexa to play Despacito.

2. Esperando demasiado tiempo para acabar igualmente en el infierno:

“Waiting too long to end up in Hell anyway”. This song is basically Thrash Metal on amphetamines. It has a slower riff in the middle and a little play with the main riff in the end, adding a beat each time the riff loops to make it sound a bit chaotic. The lyrics are about those people with gigantic egos, humongous mouths, useless ears and smooth brains that see everybody else as an NPC. The final sentence, roughly translated as “you’re the blind in the land of the one-eyed”, is a twist on the Spanish proverb “in the land of the blind, the one-eyed is king”. The saying refers to those that are mediocre but seem good among the surrounding worthlessness. The people this song refers to are just despicable anywhere they go.

3. O cadáver negro do Sol:

Our longer tracks like this one gravitate towards a “riff salad” approach to composition. It has 6 main riffs + hooks and variations in just a minute and a half. The track is both cohesive and pretty varied as is filled with hardcore d-beats, more classic grind sections, a couple Gridlink-inspired melodic passages, and a return-to-monke fast brutal death riff.

The text of the song is inspired by Cyclonopedia: Complicity with anonymous materials by the Iranian philosopher Reza Negarestani, a trippy and ridiculously opaque novel-written-as-thesis that presents Oil as a Lovecraftian monstrosity that wages war against the Solar Empire while retroactively expanding its will through the Jihad.

4. Devoradxs polo kippel:

The concept of “kippel” comes from the sci-fi classic “Do android dream of electric sheep?”: “Kipple is useless objects, like junk mail or match folders after you use the last match or gum wrappers or yesterday's homeopape. When nobody's around, kipple reproduces itself. For instance, if you to go bed leaving any kipple around your apartment, when you wake up there is twice as much of it.”

The lyrics basically describe a barren world filled with trash and no humans in sight to clean it, the Earth looking like the home of a demented hoarder. Musically, is a short follow-up of the previous tune. It has an ask-answer structure of an intro followed up by a slow riff with a blast beat in the background to gain momentum until the final section.

5. El arte de lo inútil:

This particular piece and the next one were composed by our former guitar player Iván Atrio from Upcoming Devastation. He was used to playing brutal death metal and it shows. This is a very straightforward, short, and violent deathgrind track. The lyrics reflect the feel of talking to a wall, about people that ask questions but won’t listen to answers, people that don’t want to hear anything but "Their Truth". Heavily based on the experience of our singer working as a hospital clerk during pandemic times.

6. La Guardia de la Muerte:

Clearly the most death metal moment of the album. It’s a two-minute-long fast, chaotic, relatively technical riff-fest celebrating the songwriting of 90s and early 00s death metal filtered through grindcore lenses. The lyrics talk about a Space human tribe that lived for thousands of years in a terrible environment, with shitty life conditions, a great deal of suffering and plagues. At some point one chaotic god-like entity promises to solve all their problems, turning them into Gory undead mutants. In exchange for their fidelity, that "God" gave them gifts like resistance to the worst hazards, insane toughness and the ability to expand plagues throughout the galaxy. For some of our Wargamer listeners, this story might sound familiar.

7. Baixo a nube de Hiroshima:

This was actually the first Mondo Podre song ever. It has been reworked three times, though, and only the catchy riff with the high-pitched bass line remains from the original version. Our bass player had recently bought his first 7 string bass and he came up with that riff and wrote the rest of the song around that. Sometime later he decided he didn’t like it how it was and changed almost everything and throughout the years it reached its current shape.

It’s a weird track that shows many of the band's influences: it mixes Discordance Axis, Gridlink, death metal, and hardcore punk in a chaotic riff salad. The lyrics metaphorically connect the Hiroshima bomb and its historical significance with Lovecraftian horror.

8. Dona tus riñones al banco:

A rework of our song DRB from our 2019 demo. We changed the first 2 riffs for 3: an old-school grindcore riff at the beginning, a Cryptopsy death metal riff in the middle, and a riff in 9/8 that builds up for an epic neocrusty feeling finale with a blast beat in the vein of the third Wormrot album. The lyrics are a tongue-in-cheek proposal of donating your entrails to the banks.

9. Je suis la merde:

This is a very old song too. We wrote it after writing a 3-minute-long track as a way to compensate for the longer ones. Just a 28-second-long pure grindcore track. The lyrics deal with the manipulation of the people to support xenophobic policies inspired by fear, and with the blatant hypocrisy of censor and repressive governments claiming to be champions of freedom.

10. Circo geriátrico:

This song was initially inspired by the sense of arrogance that some people in the scene seem to show just because they were born earlier. But then the pandemic exploded and there was a wave of confused idiots entering a rabbit hole of right-wing conspiracy theories cults from the dumbest forums and believing to be actually smarter and “woker” for it. You’re not a thinker among sheeple, you’re just angry and baffled, please stop drinking the fascist kool-aid. Also, stop trusting the plan, it didn’t happen for 5 times in a row already!.

Musically it reminds a bit of Pig Destroyer during the Book Burner era with d-beats that culminate in a slow sludge-ish final riff in the vein of those nasty Converge endings. Before turning “Necronomía de Subexistencia” into a full length, this song was going to be the second to last, using the slow part as a fake ending followed by “Escravos da Mediocridade” as the last song.

11. Escravos da mediocridade.

It is astounding how some “musicians” claim to be entitled to a place in a band without even trying to meet the bare minimum requirement of learning to play the songs. These individuals also get tremendously offended when reminded about such requirements and will take dangerous steps and blatantly lie to themselves and others in order to protect their sense of self-worth. These types will always be slaves of their own mediocrity, narcissism, and excuses. This song is about one of those people. Avoid them like the plague.

Musically it mixes straightforward grindcore fueled by anger and broken friendships with a weird riff in the middle of the song comprising guitar harmonics and a bass slide line.

12. Mileurista grindset:

This song is the fastest on the album. Unadultered fast and relentless grindcore with a vibe reminiscent of Prowler in the Yard. High octane riffs packed in less than 45 seconds of fury. The title is a reference to the Millionaire grindset meme and a “mileurista” which is the Spanish term for a worker that earns barely a thousand euros per month, which is not a great salary taking into account the cost of living here. The text complains about those people that, despite living paycheck to paycheck, justify those that exploit them and the entire country while using people in the same or worse position as scapegoats.

13. Estado de excepción no declarado:

Another reworked track from our demo. It gallops between a bunch of deathgrind, thrashcore and d- beat in a fast-paced mid-length cut. The title was inspired by the habit of the Spanish state to cope with its disgruntled citizens by sending copious amounts of cops, and the tune has no lyrics.

14. Oio voces que queren queimarme:

The final song is a re-recording of the final track of our demo, only polished and tweaked. It deviates a bit from the general vibe of the album. For starters, it’s over 3 minutes long and the main riff is basically melodeath. It’s also fairly structured compared to the rest of the record, although in the second half it goes on a thrashier rampage that culminates on a slow hardcore/sludge riff to conclude the record. It’s the song that closes our shows and has one of the best vocal deliveries on the album.

Thematically... Let’s just say that mixing too many drugs and finishing the bender with a psychotic break sucks.