CORDYCEPS CORPSE

track-list:
Intro to Putrefaction
From Flesh To Fluids
Decapitation
Slowly Poisoned
Battery Acid Enema
Stomach Bile For Miles
Family Photo With Hella Cadavers (feat. WORMFUCKER)
Left Over Limbs For Later
Tools For Torture
Skin Tortilla

Cordyceps Corpse is:
Nani Porter – guitars, bass, drums, vocals

discography:

Slam dad’s top slam albums 2025 describes album:
“…as thick and gross and I absolutely love it…dabbles into goregrind, a little bit brutal death metal, but straight up slam…”
Shortbus Pile Up slams of the week #38, Bill describes album as:
“super fucking brutal …really good death metal”

Cordyceps Corpse is the solo sonic nightmare of Nani Porter, an Ohio-based multi-instrumentalist whose love for brutal death metal, slam, and goregrind collided with a DIY ethos and a refusal to wait for a band to form.
“Cordyceps Corpse isn’t technically a band; it’s just one woman (myself) 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’.”
Frustrated by making beats for others and craving something more visceral, Nani launched Cordyceps Corpse in late 2023 with a single recorded entirely in her room, and hasn’t looked back since.
“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.”
“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…I feel like this isn’t news to the people that know me personally, but the reason why I was able to use acoustic drums was because of my friend Joell’e. 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.”
Now reissued by Gore House Productions, ‘From Flesh To Fluids‘ is a grotesque, chaotic, and morbid slab of slam that pushes the genre’s boundaries with unapologetic filth and raw creativity.
The album is a sonic descent into madness, inspired by horror films, documentaries, and real-life grotesqueries – like maggot-infested trash cans and cannibalistic fantasies.
It’s not just music;
it’s a mood, a texture, a stench.
Cordyceps Corpse’s sound is best described in five words:
chaotic, thick, disgusting, brutal, morbid.
Drawing influence from genre titans like Devourment, Cephalotripsy, Putrid Pile, and Stabbing, Nani crafts music that’s rhythmically guttural, structurally unpredictable, and emotionally unhinged.
The transition from electronic drums to acoustic kits – thanks to a generous friend and a scavenged Yahmah set – marked a turning point in the project’s evolution, adding a raw, organic violence to the mix.
This reissue is more than a revisit; it’s a celebration of sonic depravity.
The album features ten tracks, each a vignette of horror and decay.
Nani’s process is intuitive and impulsive.
Songs often begin with a disturbing image or film, followed by MIDI drum sketches, riff layering, and bass tracking.
Vocals are mostly improvised gutturals and squeals, often repeating the song title for rhythmic effect.
The result is a visceral listening experience that channels chaos into groove-heavy brutality.
Nani first comments on the album:
“I really hope they love it. I was really shocked by how my last album was received. So if they loved that, they’ll love the next album. It’s everything from the last album but better. More brutal, more riffs, more ping, just a lot more gross in general. A thick and brutal sound that just keeps hitting. I love that style of Slam. The riffs are never stale, and it’s brutal, groovy, and gross. Exactly what I want my albums to be. For this album, I really didn’t use too many lyrics. It’s mostly rhythmic gutturals and squeals. If they’re lyrics, I’m usually just repeating the song title. I really wanted to go for a feeling with this album. Like with even the guitars and drumming, there are parts of songs where it just felt pure chaos is what I was feeling, so I may go from playing an actual riff I wrote out into really fast random tremolo notes back into something more structured. I originally got the idea from listening to Moletsting the Decapitated. Devourment does it in a few tracks, and I love the feeling of pure chaos into a heavy slam riff.”
Continues with comments on the songs on ‘From Flesh To Fluids‘:
‘Intro to Putrefaction’:
“Sonically, the song makes you feel uneasy and anxious, like something is about to happen. The goal was just to set up a vibe for the rest of the album.”
‘From Flesh To Fluids’:
“This song is actually pretty anti-cop cop, actually. It’s basically celebrating this cop getting shot in the sample. The riffs go from a fast, brutal death metal style riff into a bouncy slam riff.”
‘Decapitation’:
“The vibe for this song is the FBI walking into an abandoned farmhouse and discovering the in-bread cannibal’s collection of previous meals.”
‘Slowly Poisoned’:
“This song was a follow-up to ‘Decapitation’. It was the process that the cannibals used to kill their meals. I was thinking Resident Evil 7 and Wrong Turn vibes.”
‘Battery Acid Enema’:
“This song I came up with my partner, Liv. We were thinking of song names jokingly when she said battery acid enema, and we thought that was funny. So I made something that sounded like the most vile, painful farts induced by taking a battery acid enema.”
‘Stomach Bile For Miles’:
“The song is what it would be like to be disembowled by a hook attached to an inbred cannibal’s pickup truck and have your guts spread out for miles, and then watch the family of inbred cannibals eat your spread-out guts like a hometown buffet.”
‘Family Photo With Hella Cadavers (feat. WORMFUCKER)’:
“This is the process of the inbred family taking photos of their meals. Like how hunters take pictures of deer they kill. Just gross and dehumanizing feelings because it’s humans this time.”
‘Left Over Limbs For Later’:
“This song just feels gross. Like a room just filled with mold and the rotten scent of corpses.”
‘Tools For Torture’:
“This song starts slow and builds in tension, then it is chaotic and fast. It’s supposed to feel like that scene in Terrier 1 when Art cuts that person in half the long way.”
‘Skin Tortilla’:
“I think this song is a lot of fun. It’s heavy but bouncy. Starts off with a slow groove and goes into one of my favorite transitions in the album.”
And ends with comments on the artwork of the cover of the album:
“The album artwork is pretty brutal. It’s a man decapitated. When I saw it, I thought it matched the ‘From Flesh To Fluids’. When I was thinking about the title, I was thinking about how fragile and brutal life is. Like the idea of being flesh as alive to just like fluids, and not even existing.”
Cordyceps Corpse live shows are less performance, more party.
Expect Nani in the crowd with her guitar, inviting fans on stage to scream into the mic.
It’s raw, communal, and cathartic.
And behind the scenes, everything, from the logo (designed on a refurbished iPad) to the mixing, is done solo.
Cordyceps Corpse isn’t just a band;
it’s a one-woman horror machine.
“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.”