Some bands sound like the place they come from. Void Bringer sounds like the version of Vermont that rarely makes it onto a postcard. There are mountains here, certainly, along with forests, dirt roads, small towns, and winters capable of making isolation feel less like an idea than a physical condition. Underneath the familiar Green Mountain imagery, however, is another Vermont shaped by working people, political frustration, stubborn independence,e and underground communities that have learned to build things themselves. Since 2018, Void Bringer has been turning that Vermont into an abrasive combination of hardcore, powerviolence, fastcore, grind, and thrash that the band describes as "feral powerviolence from the Green Mountain State." Somewhere along the way, an even better description emerged: Mapleviolence.
Void Bringer began as a two-person studio project formed by Andrew Glynn and Matt Severson, releasing its first self-titled demo in November 2018. Recorded and mastered by Brett Nagafuchi at Mt. Din in Bradford, Vermont, the release was as direct as the music itself, with the credits identifying the band simply as Matt and Andrew. What began with those two musicians eventually developed into a much larger story. Looking back on the band's first eight years in a 2026 interview with No Echo, Glynn said Void Bringer had gone through 11 different configurations since 2019, with musicians shifting roles and new members entering the lineup. That degree of turnover can easily end an underground band, where rehearsals, recording, and touring already have to compete with jobs and ordinary life. Still, Void Bringer instead made change part of its history.
The band's catalog reflects that persistence. Beginning with the 2018 demo, Void Bringer continued through releases including Cruel & Unusual, a split with Youth Dispute, NO PROMO 23, "Gutcheck", and eventually the 2025 full-length RURAL ANTI BASTARD MAPLEVIOLENCE. Rather than gradually polishing its sound in search of a wider audience, the band became increasingly effective at doing what it had already set out to do. Glynn has described the evolution less as a dramatic change in style than as the musicians becoming tighter, more precise and more intense. The songs remained short, confrontational, and rooted in hardcore, while the execution sharpened.
That distinction matters with music this extreme. Powerviolence can easily become an exercise in speed for its own sake, but Void Bringer understands the value of contrast. Frantic passages collide with heavy riffs, abrupt changes, and breakdowns, making the fast sections feel even more violent. The band's lyrics are equally direct, moving through political frustration, labor, technology, authoritarianism, and the culture surrounding hardcore itself. There is little interest in disguising the point beneath elaborate metaphor. Void Bringer works in a tradition where compression is part of the language, allowing a song to arrive, make its argument, and disappear before another band might have finished an introduction.
The band's connection to Vermont gives that language a character of its own. Mapleviolence initially sounds like the kind of joke musicians invent at rehearsal, but it has become an unusually accurate description of what Void Bringer represents. The band's recordings have repeatedly been made at Mt. Din in Bradford, its identity openly embraces the Green Mountain State, and its music reflects a version of Vermont considerably removed from tourism advertising. This is rural heavy music made in a state where communities are separated by distance, and musicians cannot always depend on large audiences, numerous venues, or an established industry. Building a scene under those conditions requires people to keep showing up.
When Void Bringer began, Glynn recalled Vermont hardcore going through what he called its "Dark Ages," with bands such as The Path, Voices in Vain, and Gone Wrong among those helping keep the scene alive. The years following the pandemic brought renewed activity, new bands, and younger audiences, and by 2026, Glynn was pointing to groups including Cooked, Fifth World, Rotting in the Chapel, Ordh, Outnumbered, Skin Tight, Blossom, Corrupt World, and Dead Street Dreamers as evidence of a healthier Vermont hardcore community. Void Bringer therefore occupies an interesting position in the state's underground. It began during a quieter period and lasted long enough to become one of the bands with history as a new generation arrived.
That history reached an important point with RURAL ANTI BASTARD MAPLEVIOLENCE, released in June 2025. The 14-song album was recorded at Mt. Din in Bradford by Brett Nagafuchi and mastered by Will Killingsworth at Dead Air Studios, with a lineup featuring Glynn, Severson, Elliott Lester, Hank Isabelle and Rhys Williams. The title effectively summarizes the band's identity in four words: rural, confrontational, distinctly Vermont and unwilling to take itself so seriously that humor disappears. The record also gave years of demos, splits and shorter releases the weight of a full-length statement.
For collectors, the physical side of Void Bringer's story is worth noticing. RURAL ANTI BASTARD MAPLEVIOLENCE appeared on vinyl in a limited pressing of 300 black copies through independent labels including 625 Thrashcore, Blast for Humanity, Nuclear Ass and Second Republic Record. In comparison, a yellow cassette edition was limited to only 15 copies (we just ordered our own copy here at Maple City Music). Those releases are more than merchandise. Small-run records and tapes preserve the labels, artwork, recording credits, and relationships surrounding an underground scene in ways streaming cannot. Nobody can predict which contemporary releases future collectors will consider historically significant, but preservation is most valuable when it begins before everyone agrees that an object deserves preserving.
Void Bringer has also refused to treat its 2025 album as an endpoint. The band continued releasing material in 2026, including PROMO 26 and "VENGEANCE COP STEPDAD," while discussing additional recordings and a retrospective collection expected to gather more than 50 tracks from across its history. That is an extraordinary amount of material for something that began as a two-person studio project eight years earlier. Still, it also reveals why conventional measures of musical success do not adequately describe bands like Void Bringer. Underground music is often measured more accurately through persistence: make the demo, play the show, survive the lineup change, press the record, get in the van, support another band, and keep going.
As of August 2026, Void Bringer is still doing exactly that, with an appearance on 29 August at Higher Ground in South Burlington, placing the band on a bill surrounding Split in Half's final show. There is something appropriate about one Vermont band continuing its story while another reaches the end of its own. Music scenes constantly regenerate as bands form and disband, musicians move between projects, venues change, and younger listeners eventually become participants themselves. What feels temporary while it is happening often becomes regional music history once enough years have passed.
Eight years after Glynn and Severson began making music together, Void Bringer has become more than a two-person studio experiment. The band has survived changing lineups, developed a substantial catalog, worked with independent labels, released a full-length statement of purpose, and remained active through a resurgence in Vermont hardcore. Most importantly, it has done so without polishing away the characteristics that made the project distinctive. The music remains fast, abrasive, and confrontational, but it also remains unmistakably connected to Vermont and the underground community that helped sustain it. Somewhere between the small towns, cold winters, tiny pressings, distorted guitars,r s and a scene stubborn enough to keep rebuilding itself, Mapleviolence stopped sounding like a joke and started sounding like a place.
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