World Condemned step in like they’ve got zero interest in easing anyone in gently: a nine–minute debut EP, “Indiscriminate Violence”, out November 7, recorded at Studio Fredman and built from late ’90s Gothenburg hardcore DNA fused with U.S. East Coast steel. Featuring members of Mass Worship, Sharp Tongues, Anchor, Hearts Alive and One Minute Left, the band don’t present as newcomers but as people who already did their time in the trenches and came back with sharper tools.
The idea is simple and not dressed up: politically charged, metallic hardcore — fast, raw, hard-hitting, and unfiltered. They make it clear they’re rooted in that era when Earache and Victory were both running hot, but they’re not here to cosplay.
The reference points are there, the stance is current. Nuclear tension, authoritarian creep, billionaire hoarding, tech–driven decay — all the usual slogans stripped of comfort and treated as ongoing conditions rather than cool slogans to print on the shirt.
Presskit_World Condemned
“Future Generations” opens as a statement of intent. The band wanted “a dramatic and unsettling introduction that would capture both the band’s melodic foundations and its heavier, rhythm-driven influences.”
The sampling sets the frame for everything that follows, hinting at collapse while pulling in that “glory days of ’90s Earache colliding with the heaviest moments of Victory’s prime” energy without turning into retro worship. It reads like an alignment piece: here’s where we’re coming from, here’s what we’re about to dismantle.
“Harness Your Fury” is the self–described “classic hardcore song” — “fast, heavy, short and uncompromising. Nothing but a declaration of defiance!” No myth–making around it, just a direct vent for that point where hopelessness flips into a weird, lucid freedom.
The lyrics circle the concentration of wealth, resources and power “by the same elite few” — a line they admit sounds like a cliché, but call more accurate than ever with “the billionaire class, tech bros and psychopathic war influencers leading us all into oblivion.” The call is open: “Organize, resist, time is long overdue!”
The closing lift from Milton’s “Paradise Lost” underlines another angle: more than 350 years on and some words still hit with the same cold clarity, which says enough about how slow the structures move.
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“90 Seconds” is where World Condemned lock their sound in and pull in outside voices without losing their own. They frame it as one of the first songs they wrote, the moment where Johan’s “tight right hand” and Jonatan’s rhythmic discipline clicked into place — “heavy, uncompromising, short and locked-in.”
The song’s title points directly at the Doomsday Clock, set at 90 seconds to midnight when they wrote it, then moved to 89 seconds: a bureaucratic way of saying things are worse. The vocal line is rooted in lived memory more than abstract fear — “I’m old enough to remember fragments from the time after the Chernobyl disaster — my mom telling me we couldn’t eat berries or mushrooms from the forest because nuclear rain had fallen over Sweden’s east coast in 1986.” That detail lands harder than any generic apocalypse talk.
The track brings in Karl Buechner of Earth Crisis, but again the story behind it stays concrete. The band’s singer talks about helping out on Earth Crisis’ last European tour stop in Sweden, having dinner, getting into conversations about “the nuclear plants in Syracuse, Cease to Exist from Gomorrah’s Season Ends, and all the apocalyptic stuff. (That and Erick’s absolute fascination for Swedish Ketchup.)” When Karl stayed in Sweden and “we had this song that felt like a perfect fit,” inviting him “just felt natural.” His presence isn’t framed as a trophy feature; it’s a continuation of a conversation about the same set of looming threats they’re already writing about — though they’re honest enough to say “having his voice on the track is, of course, beyond fucking cool for us.”
“Two Minutes Hate” drags the tempo down without losing intent. It’s “our slowest song so far,” written with a beatdown edge, tribal–leaning drum patterns and a drone layer that hints at where they might be headed next.
The title is pulled straight from Orwell’s “1984” and its ritualized mass indoctrination, but they don’t leave it there. The band call the song “dark and unsettling,” hoping it can push strength rather than resignation: resisting “authoritarianism, overreaching governments and oppressive institutions” comes with a cost, “but for many of us, there’s simply no other way forward, don’t bow to none.”
Guest vocals come from their “good friend and local titan, Linus of Existence,” keeping things grounded in their immediate community instead of some distant feature economy.
Across “Indiscriminate Violence”, the pattern is consistent: short runtime, muscular strikes, clear agenda, no ornamental optimism. Recorded at Studio Fredman, the EP folds Gothenburg’s own lineage into a present tense defined by occupations, genocidal wars, climate collapse, reckless tech and the rest of what they describe as “all the looming catastrophes of the 2020s, unless we change course drastically.” Guests from Earth Crisis and Existence drop into a framework that’s already fully formed rather than holding it up.
It’s one of those first listens that grabs you by the head and drags you through it hard enough to make it clear these guys aren’t amateurs — all that experience hits twice as strong in just a few minutes, and honestly, I can’t wait to see them live.
