Tsubo – Capitale Umano

Tsubo have been prominent figureheads in the burgeoning Italian grindcore scene since their formation in 2003. Describing their sound as “psychotic adrenalinic grind,” the band aptly dubs their fast, ferocious, yet technical take on the genre. Hailing from the city of Latina, Tsubo—alongside other underground bands like Dysmorfic, Terror Firmer, Dirty Power Game, Repulsione, and legends like Comrades (RIP)—have been building a strong and fruitful political scene now at the peak of its power, spawning acts like Neid, Terramorta, Eraser, and other newer bands.

With an unapologetic DIY ethos, numerous benefit releases (such as Tsubo’s split with Matka Teresa, where all profits went to animal shelters), and an ever-present anarchist and anticapitalist message, it’s no wonder that a band like Tsubo has succeeded in breaking the genre’s paradigm while preserving its old-school roots. When experimentation is welcomed and encouraged, the scene can only grow stronger and produce more interesting acts and projects.

After two excellent albums, one tape split, one 7-inch, and the obligatory Agathocles split, Tsubo presents their newest record, Capitale Umano, released on April 26, 2023, on End of Silence Records. Mastered at Syntesis Studio and recorded at 1904 Recording Studio, the 15 songs here sound better than ever, and it’s sonically obvious that the band put a lot of effort into recording and arranging these intricate compositions of epic technical grindcore.

When I say intricate, I truly mean it. An ideal example is the longest track on the album, “Guerre,” where beautifully crafted guitar riffs flow perfectly with exquisite synthesizer work by Guglielmo Nodari and Lorenzo Pesce, culminating in an epic peak of absolute musical excellence. The whole album is full of such interesting moments despite the mostly short duration of the songs—a staple in the genre. Impressively, Tsubo manage to create a majestic yet brutal sonic landscape within the confines of grindcore without sounding pretentious or betraying the core tenets of the raw and old-school sound.

Overflowing guitar riffs that keep you hooked at all times, frequent tempo changes, and impressive drumming that switches effortlessly from barbaric blastbeats to a more technical deathgrind style make the record eclectic, compact, and potent. The usually high-pitched vocals have a spectacular range, and their viciousness is unmatched. All of this is powered by a strong and vehement anti-systemic message expressed throughout the album.

Clearly influenced by classic tech-death acts such as Atheist, Cynic, and Pestilence, Tsubo integrates these influences into their unique brand of technical and dynamic grindcore, constructing something truly great and unheard of. They break the often replicated, unoriginal tenets of old-school grindcore and create something progressive, ambitious, and absolutely spectacular in their ability to use the genre’s core musical tropes while adding their own majestic twist.

I can personally attest to how tight and powerful they sound live—their performance at Extreme Condition Fest at La Scintilla squat this year was one of the most solid grindcore performances I have ever heard. They delivered their progressive and forward-thinking, ear-shattering hymns of rage and disgust to the crowd of grind maniacs excellently, demonstrating what great musicians they are. In a live setting, without all the magic of production and mastering, a band can establish their stage presence and show its unique energy to the crowd.

A magnificent and epic record by all standards, Capitale Umano deserves to be heard by all grindcore and death metal fans who aren’t afraid of experimentation and have an ear for distinctive acts. You can order a copy of the album (an excellently done digipack edition with a beautiful cover by Claudio Elias Scialabba that perfectly encapsulates the atmosphere of the record) from End of Silence or directly from the band—and if you want some of their older releases, you can contact Tsubo through their social media pages.