EPK – Cordyceps Corpse – Perverse Craving For Rotting Corpses (2026) (Gore House Productions)
Publicist – Jon Asher – gorehouse[@]ashermediarelations[.]com
For fans of Devourment, .357 Homicide, Cephalotripsy, Kraanium, Corpse Pile
Band: Cordyceps Corpse
Album Title: Perverse Craving For Rotting Corpses
Release Date: October 9, 2026
Label: Gorehouse Productions
Genre: Brutal Death Metal, Slam, Goregrind
Location of Band: Ohio, USA
“This album, I really wanted to dive more into the 90’s/2000’s brutal death metal sound. I really think that era was the peak for bdm and Slam. I focused on writing a little bit more technical riffs than just straight slam riffs. I feel like it gets to a point where if a song is nothing but slams, it starts to sound like the next song. I think what makes a slam riff hit is context. Like a basic ass slam riff sounds cool as fuck after crazy fast riffs or whatever. 90’s/2000’s era, I feel, does this well with like switching stuff off and just being fast too.
Lyrically, I also want to lean more towards that era. I feel like things were more serious and kinda like brutal. Like, I kinda like reading some fucked up lyrics, it’s like a horror movie for music. That was a big inspiration for writing the lyrics for this album. Also, Aileen Wuornos, she kinda gave some inspiration for the album’s theme lyrically. Also, I just wanted to do something different; BDM/slam always has men brutalizing women, so for this album, I flipped the script.” – Nani Porter – Cordyceps Corpse
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Album pre-save – https://orcd.co/perverse-craving-for-rotting-corpses
CORDYCEPS CORPSE REVIEWS & MENTIONS
“The solo project of multi-instrumentalist and deathgrind visionary Nani, Cordyceps Corpse delivers a grotesque cocktail of guttural slam, sludged-out goregrind, and DIY fury” – Necrozine
“a one-woman slam/goregrind wrecking ball spilling over with disgusting grooves, guttural violence, and Nani’s fully unhinged DIY vision. It’s her rawest, most chaotic statement yet, now upgraded with live drums, sharper production, and a brand new video for the title track that leans hard into the project’s anti-authority, horror-splattered energy. If you’re into thick Devourment-style slam filtered through a solo creator who writes, records, mixes, masters, designs, and performs everything herself, this reissue is worth diving into — chaotic, filthy, and completely owned from the ground up.” – IDIOTEQ
“In Slam / Brutal Death it is often the case that there is only one man behind it, but this is Nani Porter, a woman who takes care of everything. After a few singles and EPs, the lady presents her debut and a sample part gets tough, but not so quickly. The snare is set just right for me on the drum machine and you can hear it stapling wonderfully. I also think it’s great that the woman gets so deep with her voice and in the end there’s a lot of shooting. „From Flesh to Fluids“ starts at a crisp up pace and then bludgeons like crazy and Nani’s gargling is so intense that it almost ends in squeals. „Decapitation“ pushes forward properly before continuing at a pressing mid/slam pace and then sprinkling in a few shooting parts. „Slowly Poisoned“ lives up to its name because it is a tough and crawling track, after which „Battery Acid Enema“ is also played rather clumsily, But here and there it also goes up a gear. „Stomach Bile for Miles“ starts like a battlefield, but then drops more and more with clever breaks. We find rich stomping and robust riffs in „Family Photo with Hella Cadavers“, which then arrives at a crawling pace and rough squeals. „Left Over Limbs for Later“ is pure slam death, there’s a lot of crawling going on here, the coarse vocals have power and power that it gets through your bones. „Tools for Torture“ also holds back when it comes to tempo, but when it comes to brutality the track is high up and in the end „“Skin Tortilla“ is a really crushing song. For me, what the lady is pulling out of the hat is strong” – FFM-Rock
Shay top 20 women fronted/all woman bands: https://www.tiktok.com/t/ZTHGeWoaHSaaB-6NEcX/
Slam dad’s top slam albums 2025: https://www.tiktok.com/t/ZTHGe7svNe6Yg-XSZgA/ describes album “as thick and gross and I absolutely love it”
“dabbles into goregrind, a little bit brutal death meta,l but straight up slam”
Shortbus Pile Up slams of the week #38: https://www.tiktok.com/t/ZTHGe7oG6eawD-9smyt/ Bill “describes album as super fucking brutal …really good death metal”
[Download Album Cover | Download Album Lyrics]
Band: Cordyceps Corpse
Album Title: Perverse Craving For Rotting Corpses
Release Date: October 9, 2026
Label: Gorehouse Productions
Genre: Brutal Death Metal, Slam, Goregrind
Location of Band: Ohio, USA
Track Listing:
1. Perverse Craving for Rotting Corpses(2:48)
2. Forced Out Of Existence (1:54)
3. Thoracic Bifurcation (2:42)
4. Ishmael’s Demise (2:07)
5. Postmortem Ejaculation (2:22)
6. Fermented Remains (1:57)
7. Skinned Alive and Left to Die (2:18)
8. Costectomy Torture (2:01)
9. Penetrating Ocular Trauma (1:56)
10. Urophagia (1:55)
11. Suspended Chainsaw Gastrostomy (2:08)
Album Length – (24:15)
Album Recording Credits:
• All songs performed by: Nani Porter
• All songs written by: Nani Porter
• Produced by: Nani Porter
• Mixed by: Nani Porter
• Mastered by: Nani Porter
• Album Artwork by: Adam Nevler (GruesomeGraphx)
Album Band Lineup:
Nani Porter – Guitar, Bass, Drums, Vocals
Live Band Line Up:
Nani Porter – Guitars & Vocals
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About The Album Artwork:
The album artwork was done by Adam Nevler (GruesomeGraphx). It’s a beautiful and gruesome piece of art that I thought fit the album perfectly.
About the album as a whole (LYRICALLY & MUSICALLY):
The album is very much the journey of a Glock-loving, necrophilic, cannibal, misandrist woman. It’s like her twisted diary. Think of Aileen Wuornos, but like with superpowers basically, and she gets more powerful from the victims she consumes
Track by Track (LYRICALLY & MUSICALLY):
1. Perverse Craving for Rotting Corpses
Perverse craving is intense. It’s the opening track for the album; it starts off with an interview with Aileen Wuornos, followed by a pretty intense few opening riffs, then it gets into the slams. The lyrics revolve around a supernatural serial killer waking up from her slumber, thinking about her last meal, then becoming hungry again and needing to find a new victim.
2. Forced Out Of Existence
The song starts with slow, held-out chords, then gets into the slams. Lyrically, I just wanted to write something wild and kinda fried. I think I accomplished that, haha.
3. Thoracic Bifurcation
I was watching re watching Terrifer and hitting the bong when I wrote the lyrics to this one. Thats how I got the idea of being like suspended upside down and being turned into a human bong. Again same formula for song structure, chaos, and brutality into heavy groove/slams.
4. Ishmael’s Demise
This song has one of my favorite riffs of the album. The entire song was written around it. I didn’t want this entire album to be low-IQ riffs, so I did my best to add some tech into my death metal riffs. Not gonna share the lyrics, but it’s named after this musty ass dude named Ishmael. He chased my girlfriend and me, threatened to shoot us, and stole my gf’s phone. I fucking hate him.
5. Postmortem Ejaculation
This song is a lot of fun. It’s about a woman who lures men from her OnlyFans to her place and literally edges them to death. And then they cum after they die, and she eats them. Hella groovy slam-filled track. I enjoyed making this one, and I hope people like listening to it.
6. Fermented Remains
This one turned out way better than I planned. The song was written off what I guess is technically the second riff of the song? The palm-muted riff into the goregrind style riff was originally the whole song, but I needed to add to it, so I went with the house/EDM method and did like a build-up, if that makes sense? Kinda like how in some EDM songs they don’t play the full melody until like after the drop. I took the main riff and just paused on the pinch harmonic. I dunno if that makes any sense, but I like it. Lyrically, the message is very clear. Fuck Ice. They’re fucking Nazi’s. Fuck colonization. They’re literally stealing people while on stolen land.
7. Skinned Alive and Left to Die
Lyrics to this song are basic bdm/slam shit. Torture, murder, gore, all that, while blast beats and heavy scooped guitars chug in the background. Real classy stuff in this one.
8. Costectomy Torture
This one is about snorting lines of crushed ribs. Musically, I did something a little different after I slowed down the song, and then slowly raised the tempo back to the original. Really stoked on how it came out.
9. Penetrating Ocular Trauma
This song is super slammie. Big slam riffs throughout the song. Lyrically, the song is about the same woman from the other songs enjoying a walk after a meal. She’s a little drunk and wants to test out her new gun, she made that shoots dicks. So she just walks around shooting people with her dick gun and gets one person in the eye, giving them ocular trauma.
10. Urophagia
This one is the piss-drinking anthem, a lot of fun to play. A bunch of breaks, I was like hyper fixated on like bass breaks while writing the music for this album.
11. Suspended Chainsaw Gastrostomy
This one has a really fun riff in it. I just wanted to make something fast to contrast the slow intro. Lyrics same shit: murder, gore, and everything nice.
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FUN FACTS – STORY ANGLES:
1. A lot of people think I came up with the name Cordyceps Corpse because of the show The Last of Us. But it actually came from a nature show I was watching, and these ants got infected with Cordyceps. I thought that was crazy: a fungus could hijack that ant’s motor functions, and the ants, I guess, are conscious and aware the entire time, but can’t do anything. The idea of being a prisoner in your own body is wild. So naturally, I just added Corpse to the end and got Cordyceps Corpse.
2. On Cordyceps’ older releases, I used an e-kit for the drums, and I had the snare cranked so crazy in the module, trying to achieve that pin, but I honestly look back and think it sounds comical. Like the snare sounds like a cartoon version of a dodgeball snare.
3. I feel like this isn’t news to the people who know me personally, but the reason why I was able to use acoustic drums was because of my friend Joelle. She’s the vocalist for Fleshpile, which is a band everyone should definitely check out, but she has a few drum sets in her basement, and it was taking up space, and she said I could grab whatever. It was literally the most perfect thing. She had a Yahmah set in there, so I took that and slowly started adding shit. I was working at Sam Ash at the time, and they were going out of business, so anything that had a slight defect and needed to be repaired had to be thrown out. So I snagged some cracked cymbals and just used a grinder to fix them later on. Anyways, huge shout out to Joell’e; she’s the homie, love her.
4. Cordyceps Corpse isn’t technically a band; it’s just one woman (me) making noise. I write and record everything in my room. I feel like most people know that. But everyone once in a while, someone asks what I play in Cordyceps, and I’m like “everything”.
5. People ask me about my logo a lot, like who did it, and I actually made the logo on my iPad. I had originally paid someone to make one, but they were taking forever. So I bought a refurbished iPad, watched a bunch of YouTube videos, and made one in like a week. No hard feelings toward the other person; they ended up sending the money back, and they just had a lot going on, I guess, so that’s totally understandable.
6. I have four cats: Salami, Cleo, Ozzy, and Bowie. Cleo runs the house and bullies her brothers.
7. The location where “From Flesh To Fluids” was filmed was an abandoned church at night.
8. More cat facts. Cleo has been in the room for every song I’ve made. She literally follows me everywhere.
Cordyceps Corpse – Nani Porter (Guitar & Vocals)
Photos by: Thalia Kennebrew
Cordyceps Corpse is the solo sonic nightmare of Ohio-based multi‑instrumentalist Nani Porter, a one‑woman force mutating brutal death metal, slam, and goregrind into something feral, chaotic, and unmistakably her own. Born from impatience, obsession, and a refusal to wait for a “real band,” Nani launched the project in late 2023 after years of making beats for others left her craving something far more visceral. One day, she simply said, “fuck it, I’ll do it myself,” recorded a single in her room, and Cordyceps Corpse erupted into existence.
Following the Gore House Productions reissue of From Flesh To Fluids, a grotesque and unhinged debut drenched in horror‑film grime and real‑world depravity, Cordyceps Corpse now enters its next evolutionary stage. In 2026, Gore House Productions will unleash the project’s most violent and ambitious work yet: Perverse Craving For Rotting Corpses, an album that pushes Nani’s fast‑and‑filthy songwriting into even more chaotic, technical, and cinematic extremes.
Where From Flesh To Fluids reveled in raw, improvised gutturals and sludge‑thick slam riffs, Perverse Craving For Rotting Corpses dives deeper into contrast and structure. Nani wrote 26 songs in a whirlwind month‑and‑a‑half burst of inspiration, ultimately carving the chaos down to 11 tracks that feel like watching a truly fucked‑up movie unfold in audio form. The album swings violently between blistering, low‑IQ tremolo insanity and massive, groove‑soaked slams, each riff placed for maximum impact. Influenced heavily by the 90s/2000s brutal death metal era, she considers the genre’s peak; Nani incorporates more technicality, odd time signatures, and deliberate pacing while preserving the unhinged spirit that defines Cordyceps Corpse.
Lyrically, this record marks a shift. Instead of pure rhythmic gutturals, Nani wrote actual lyrics, dark, disturbing, and inspired by crime interrogation footage, horror cinema, Darby Valentine videos, and the grim psychology of figures like Aileen Wuornos. In a genre oversaturated with men brutalizing women, she flips the script entirely, crafting a narrative world where the violence is reframed, recontextualized, and intentionally unsettling.
Cordyceps Corpse’s sound can be summed up in five words: fast, brutal, gross, gruesome, family fun. Drawing influence from Devourment, .357 Homicide, Cryptopsy, Last Days of Humanity, and Brodequin, Nani channels chaos into something rhythmically guttural, structurally unpredictable, and emotionally feral. The transition from electronic drums to a scavenged acoustic kit added a new layer of organic violence to her recordings, further sharpening the project’s identity.
Live, Cordyceps Corpse is a spectacle all its own, Putrid Pile style. It’s just Nani on stage, often in the crowd with her guitar, inviting fans to scream into the mic, turning every show into a communal, sweaty, cathartic horror party. Everything, from the riffs to the mixing to the logo drawn on a refurbished iPad, is done entirely by her. Cordyceps Corpse isn’t a band. It’s a one‑woman horror machine.
With Perverse Craving For Rotting Corpses, Nani Porter cements Cordyceps Corpse as one of the most exciting, deranged, and authentically DIY forces in modern brutal death metal. Faster, filthier, and more unhinged than ever, this new chapter is a celebration of chaos, contrast, and pure sonic depravity, exactly the way she intended.
Shared Stage with: Glorious Depravity, Wretched Blessing, Brazilian Back Massage, Sissy Sissy Sissy
Discography:
2026- Perverse Craving For Rotting Corpses
2025- From Flesh to Fluids- LP
2025- Spider Birth Reingurgitation-Album Feature
2024- Merry DICKMAS MIXTAPE, Vol. 1- Feature
2024- Advanced Torture Tactics – EP
2024- Two Pak – EP
2024- Road Kill Kush – Single
2024 – Putrid Fetish – LP
2024- Corpse Collector – EP
2023- Spliff Spit – EP
2023- F.M.P.F.T.P. – Single
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