Art reflects life. Extreme times demand extreme responses. Silence sucks. Noise is always the answer. And yes, NAPALM DEATH continue to be one of the few bands on this planet that adhere to all these principles and more. For the last three decades, their name has been synonymous with heavy music taken to the extreme - music that confronts, confounds and eviscerates in equal measure.
NAPALM DEATH's enduring impact on the world of sonic savagery began in earnest in the late 80s, when the band's first two albums - 1987's Scum and its 1988 follow-up From Enslavement To Obliteration - refined and redefined the notion of brutality and velocity in the worlds of punk, hardcore and metal. Endorsed by legendary and much-missed DJ John Peel, the Brummie grindcore pioneers were such an exhilarating and yet alien dose of jolting adrenaline that even the mainstream media were forced to prick up their ears and take note. Throw in the fact that NAPALM DEATH were - and still are - driven by a ferocious intelligence and a genuine desire to make the world a better place through the promotion of rational thought and respect for all fellow humans, they stood apart from the often nihilistic and intellectually bankrupt underground metal scene and have remained unique and unerring ever since. While grind purists may point to those earliest records as evidence of the band's significance, it is the tireless and terrorising exploits of the now classic line-up of vocalist Mark 'Barney' Greenway, bassist Shane Embury, guitarist Mitch Harris and drummer Danny Herrera that have cemented NAPALM DEATH's status as extreme music legends. Over the last 20 years, the band have released a relentless slew of groundbreaking and fearless albums and other releases that have consistently punched holes in the heavy music world's perimeter fence, espousing an indestructible credo of creativity and lyrical fire along the way.
~~~~~~~~~
Although the name Napalm Death has existed since 1981, as the band's first line-up plundered the post- and anarcho- punk scenes for inspiration, it was 1987's seminal Scum album that would ensure their place in the grand pantheon of heaviness. A visceral dismantling of conventions, it effectively kick-started the entire Grindcore scene, gaining Napalm Death something approaching household name status for their insane speeds, animalistic screams and uncompromising political stance. From that moment, the band became synonymous with both proudly-held ethical principles and the relentless pursuit of new ways to terrorise people with riffs and noise.
By the early '90s, Napalm Death had coalesced around a steady line-up of vocalist Barney Greenway, bassist Shane Embury, drummer Danny Herrera and guitarists Mitch Harris and Jesse Pintado. Renowned for both unrelenting tour schedules and a steady stream of consistently well- received albums, they have powered forward ever since,
weathering transient trends, media indifference and industry skulduggery along the way. Despite the sad passing of Pintado in 2006, the 21st century has seen Napalm Death continue to refine and redefine their still epoch-wrecking sound, with instant classic albums like Smear Campaign (2006) and Utilitarian (2012) adding further flesh to the bones of this ongoing legend.
While many veteran bands are content to repeat themselves or to wallow in nostalgia, these noise-hungry stalwarts seem to have gained fresh impetus and momentum in recent times, as showcased on 2015's Apex Predator - Easy Meat, and its universally acclaimed and truly mind-bending Throes Of Joy In The Jaws Of Defeatism (2020). The creation of the latter masterpiece clearly ranks as one of the most fertile periods in Napalm Death history, as the band are now to unleash a brand new 30-minute mini-album, Resentment is Always Seismic - a final throw of Throes. Boasting some of the band's most experimental material yet, alongside the expected bursts of bone-shattering extremity, the new release continues Napalm Death's devotion to a defiantly underground punk rock ethos.
"It was all recorded during the sessions for the last album, but as you know, we always record a shitload of stuff!" says Barney Greenway. "We purposely said, right, we're going to put a mini-album out for a change! Being from the school of hoary old punk rockers, we like to do these stripped down releases. We recorded enough that we still had a lot of bonus tracks for the original album release, and we had all this extra stuff left over!"
Continuing the fearless exploration of their legendary sound's outer limits, Resentment is Always Seismic... is full of jaw-dropping moments where heaviness and insanity collide. From the crushing, ultra-distorted grooves
of opener Narcissus and the sluggish, Swans-saluting oppression of Resentment Always Simmers, to the visceral rage attack of By Proxy and blistering covers of Bad Brains' Don't Need It and industrial noise rock icons SLAB!'s pummelling People Pie, Napalm Death's music has never sounded more vital or unique. Nowhere is that more evident than on the new mini-album's closing title track, wherein bassist Shane Embury morphs into his Dark Sky Burial alter-ego for a synapse-torching remix for the ages.
"These songs are pretty much an extension of the last album, but there's a lot of crazy stuff on there and we really went for it," Barney concludes. "With the title track, Shane punted the idea of doing a remix, and I thought yeah, why not? We've always shared a love of things like Coil, and all that dark, soundscape stuff, so I was quite happy for him to do that. Him and Russ [Russell, producer] built the track, with all kinds of inanimate objects being thrown around in very unsavoury ways! [Laughs] It turned out really fucking good."
show less
NAPALM DEATH's enduring impact on the world of sonic savagery began in earnest in the late 80s, when the band's first two albums - 1987's Scum and its 1988 follow-up From Enslavement To Obliteration - refined and redefined the notion of brutality and velocity in the worlds of punk, hardcore and metal. Endorsed by legendary and much-missed DJ John Peel, the Brummie grindcore pioneers were such an exhilarating and yet alien dose of jolting adrenaline that even the mainstream media were forced to prick up their ears and take note. Throw in the fact that NAPALM DEATH were - and still are - driven by a ferocious intelligence and a genuine desire to make the world a better place through the promotion of rational thought and respect for all fellow humans, they stood apart from the often nihilistic and intellectually bankrupt underground metal scene and have remained unique and unerring ever since. While grind purists may point to those earliest records as evidence of the band's significance, it is the tireless and terrorising exploits of the now classic line-up of vocalist Mark 'Barney' Greenway, bassist Shane Embury, guitarist Mitch Harris and drummer Danny Herrera that have cemented NAPALM DEATH's status as extreme music legends. Over the last 20 years, the band have released a relentless slew of groundbreaking and fearless albums and other releases that have consistently punched holes in the heavy music world's perimeter fence, espousing an indestructible credo of creativity and lyrical fire along the way.
~~~~~~~~~
Although the name Napalm Death has existed since 1981, as the band's first line-up plundered the post- and anarcho- punk scenes for inspiration, it was 1987's seminal Scum album that would ensure their place in the grand pantheon of heaviness. A visceral dismantling of conventions, it effectively kick-started the entire Grindcore scene, gaining Napalm Death something approaching household name status for their insane speeds, animalistic screams and uncompromising political stance. From that moment, the band became synonymous with both proudly-held ethical principles and the relentless pursuit of new ways to terrorise people with riffs and noise.
By the early '90s, Napalm Death had coalesced around a steady line-up of vocalist Barney Greenway, bassist Shane Embury, drummer Danny Herrera and guitarists Mitch Harris and Jesse Pintado. Renowned for both unrelenting tour schedules and a steady stream of consistently well- received albums, they have powered forward ever since,
weathering transient trends, media indifference and industry skulduggery along the way. Despite the sad passing of Pintado in 2006, the 21st century has seen Napalm Death continue to refine and redefine their still epoch-wrecking sound, with instant classic albums like Smear Campaign (2006) and Utilitarian (2012) adding further flesh to the bones of this ongoing legend.
While many veteran bands are content to repeat themselves or to wallow in nostalgia, these noise-hungry stalwarts seem to have gained fresh impetus and momentum in recent times, as showcased on 2015's Apex Predator - Easy Meat, and its universally acclaimed and truly mind-bending Throes Of Joy In The Jaws Of Defeatism (2020). The creation of the latter masterpiece clearly ranks as one of the most fertile periods in Napalm Death history, as the band are now to unleash a brand new 30-minute mini-album, Resentment is Always Seismic - a final throw of Throes. Boasting some of the band's most experimental material yet, alongside the expected bursts of bone-shattering extremity, the new release continues Napalm Death's devotion to a defiantly underground punk rock ethos.
"It was all recorded during the sessions for the last album, but as you know, we always record a shitload of stuff!" says Barney Greenway. "We purposely said, right, we're going to put a mini-album out for a change! Being from the school of hoary old punk rockers, we like to do these stripped down releases. We recorded enough that we still had a lot of bonus tracks for the original album release, and we had all this extra stuff left over!"
Continuing the fearless exploration of their legendary sound's outer limits, Resentment is Always Seismic... is full of jaw-dropping moments where heaviness and insanity collide. From the crushing, ultra-distorted grooves
of opener Narcissus and the sluggish, Swans-saluting oppression of Resentment Always Simmers, to the visceral rage attack of By Proxy and blistering covers of Bad Brains' Don't Need It and industrial noise rock icons SLAB!'s pummelling People Pie, Napalm Death's music has never sounded more vital or unique. Nowhere is that more evident than on the new mini-album's closing title track, wherein bassist Shane Embury morphs into his Dark Sky Burial alter-ego for a synapse-torching remix for the ages.
"These songs are pretty much an extension of the last album, but there's a lot of crazy stuff on there and we really went for it," Barney concludes. "With the title track, Shane punted the idea of doing a remix, and I thought yeah, why not? We've always shared a love of things like Coil, and all that dark, soundscape stuff, so I was quite happy for him to do that. Him and Russ [Russell, producer] built the track, with all kinds of inanimate objects being thrown around in very unsavoury ways! [Laughs] It turned out really fucking good."
Art reflects life. Extreme times demand extreme responses. Silence sucks. Noise is always the answer. And yes, NAPALM DEATH continue to be one of the few bands on this planet that adhere to all these principles and more. For the last three decades, their name has been synonymous with heavy music taken to the extreme - music that confronts, confounds and eviscerates in equal measure.
NAPALM DEATH's enduring impact on the world of sonic savagery began in earnest in the late 80s, when the band's first two albums - 1987's Scum and its 1988 follow-up From Enslavement To Obliteration - refined and redefined the notion of brutality and velocity in the worlds of punk, hardcore and metal. Endorsed by legendary and much-missed DJ John Peel, the Brummie grindcore pioneers were such an exhilarating and yet alien dose of jolting adrenaline that even the mainstream media were forced to prick up their ears and take note. Throw in the fact that NAPALM DEATH were - and still are - driven by a ferocious intelligence and a genuine desire to make the world a better place through the promotion of rational thought and respect for all fellow humans, they stood apart from the often nihilistic and intellectually bankrupt underground metal scene and have remained unique and unerring ever since. While grind purists may point to those earliest records as evidence of the band's significance, it is the tireless and terrorising exploits of the now classic line-up of vocalist Mark 'Barney' Greenway, bassist Shane Embury, guitarist Mitch Harris and drummer Danny Herrera that have cemented NAPALM DEATH's status as extreme music legends. Over the last 20 years, the band have released a relentless slew of groundbreaking and fearless albums and other releases that have consistently punched holes in the heavy music world's perimeter fence, espousing an indestructible credo of creativity and lyrical fire along the way.
~~~~~~~~~
Although the name Napalm Death has existed since 1981, as the band's first line-up plundered the post- and anarcho- punk scenes for inspiration, it was 1987's seminal Scum album that would ensure their place in the grand pantheon of heaviness. A visceral dismantling of conventions, it effectively kick-started the entire Grindcore scene, gaining Napalm Death something approaching household name status for their insane speeds, animalistic screams and uncompromising political stance. From that moment, the band became synonymous with both proudly-held ethical principles and the relentless pursuit of new ways to terrorise people with riffs and noise.
By the early '90s, Napalm Death had coalesced around a steady line-up of vocalist Barney Greenway, bassist Shane Embury, drummer Danny Herrera and guitarists Mitch Harris and Jesse Pintado. Renowned for both unrelenting tour schedules and a steady stream of consistently well- received albums, they have powered forward ever since,
weathering transient trends, media indifference and industry skulduggery along the way. Despite the sad passing of Pintado in 2006, the 21st century has seen Napalm Death continue to refine and redefine their still epoch-wrecking sound, with instant classic albums like Smear Campaign (2006) and Utilitarian (2012) adding further flesh to the bones of this ongoing legend.
While many veteran bands are content to repeat themselves or to wallow in nostalgia, these noise-hungry stalwarts seem to have gained fresh impetus and momentum in recent times, as showcased on 2015's Apex Predator - Easy Meat, and its universally acclaimed and truly mind-bending Throes Of Joy In The Jaws Of Defeatism (2020). The creation of the latter masterpiece clearly ranks as one of the most fertile periods in Napalm Death history, as the band are now to unleash a brand new 30-minute mini-album, Resentment is Always Seismic - a final throw of Throes. Boasting some of the band's most experimental material yet, alongside the expected bursts of bone-shattering extremity, the new release continues Napalm Death's devotion to a defiantly underground punk rock ethos.
"It was all recorded during the sessions for the last album, but as you know, we always record a shitload of stuff!" says Barney Greenway. "We purposely said, right, we're going to put a mini-album out for a change! Being from the school of hoary old punk rockers, we like to do these stripped down releases. We recorded enough that we still had a lot of bonus tracks for the original album release, and we had all this extra stuff left over!"
Continuing the fearless exploration of their legendary sound's outer limits, Resentment is Always Seismic... is full of jaw-dropping moments where heaviness and insanity collide. From the crushing, ultra-distorted grooves
of opener Narcissus and the sluggish, Swans-saluting oppression of Resentment Always Simmers, to the visceral rage attack of By Proxy and blistering covers of Bad Brains' Don't Need It and industrial noise rock icons SLAB!'s pummelling People Pie, Napalm Death's music has never sounded more vital or unique. Nowhere is that more evident than on the new mini-album's closing title track, wherein bassist Shane Embury morphs into his Dark Sky Burial alter-ego for a synapse-torching remix for the ages.
"These songs are pretty much an extension of the last album, but there's a lot of crazy stuff on there and we really went for it," Barney concludes. "With the title track, Shane punted the idea of doing a remix, and I thought yeah, why not? We've always shared a love of things like Coil, and all that dark, soundscape stuff, so I was quite happy for him to do that. Him and Russ [Russell, producer] built the track, with all kinds of inanimate objects being thrown around in very unsavoury ways! [Laughs] It turned out really fucking good."
read more
NAPALM DEATH's enduring impact on the world of sonic savagery began in earnest in the late 80s, when the band's first two albums - 1987's Scum and its 1988 follow-up From Enslavement To Obliteration - refined and redefined the notion of brutality and velocity in the worlds of punk, hardcore and metal. Endorsed by legendary and much-missed DJ John Peel, the Brummie grindcore pioneers were such an exhilarating and yet alien dose of jolting adrenaline that even the mainstream media were forced to prick up their ears and take note. Throw in the fact that NAPALM DEATH were - and still are - driven by a ferocious intelligence and a genuine desire to make the world a better place through the promotion of rational thought and respect for all fellow humans, they stood apart from the often nihilistic and intellectually bankrupt underground metal scene and have remained unique and unerring ever since. While grind purists may point to those earliest records as evidence of the band's significance, it is the tireless and terrorising exploits of the now classic line-up of vocalist Mark 'Barney' Greenway, bassist Shane Embury, guitarist Mitch Harris and drummer Danny Herrera that have cemented NAPALM DEATH's status as extreme music legends. Over the last 20 years, the band have released a relentless slew of groundbreaking and fearless albums and other releases that have consistently punched holes in the heavy music world's perimeter fence, espousing an indestructible credo of creativity and lyrical fire along the way.
~~~~~~~~~
Although the name Napalm Death has existed since 1981, as the band's first line-up plundered the post- and anarcho- punk scenes for inspiration, it was 1987's seminal Scum album that would ensure their place in the grand pantheon of heaviness. A visceral dismantling of conventions, it effectively kick-started the entire Grindcore scene, gaining Napalm Death something approaching household name status for their insane speeds, animalistic screams and uncompromising political stance. From that moment, the band became synonymous with both proudly-held ethical principles and the relentless pursuit of new ways to terrorise people with riffs and noise.
By the early '90s, Napalm Death had coalesced around a steady line-up of vocalist Barney Greenway, bassist Shane Embury, drummer Danny Herrera and guitarists Mitch Harris and Jesse Pintado. Renowned for both unrelenting tour schedules and a steady stream of consistently well- received albums, they have powered forward ever since,
weathering transient trends, media indifference and industry skulduggery along the way. Despite the sad passing of Pintado in 2006, the 21st century has seen Napalm Death continue to refine and redefine their still epoch-wrecking sound, with instant classic albums like Smear Campaign (2006) and Utilitarian (2012) adding further flesh to the bones of this ongoing legend.
While many veteran bands are content to repeat themselves or to wallow in nostalgia, these noise-hungry stalwarts seem to have gained fresh impetus and momentum in recent times, as showcased on 2015's Apex Predator - Easy Meat, and its universally acclaimed and truly mind-bending Throes Of Joy In The Jaws Of Defeatism (2020). The creation of the latter masterpiece clearly ranks as one of the most fertile periods in Napalm Death history, as the band are now to unleash a brand new 30-minute mini-album, Resentment is Always Seismic - a final throw of Throes. Boasting some of the band's most experimental material yet, alongside the expected bursts of bone-shattering extremity, the new release continues Napalm Death's devotion to a defiantly underground punk rock ethos.
"It was all recorded during the sessions for the last album, but as you know, we always record a shitload of stuff!" says Barney Greenway. "We purposely said, right, we're going to put a mini-album out for a change! Being from the school of hoary old punk rockers, we like to do these stripped down releases. We recorded enough that we still had a lot of bonus tracks for the original album release, and we had all this extra stuff left over!"
Continuing the fearless exploration of their legendary sound's outer limits, Resentment is Always Seismic... is full of jaw-dropping moments where heaviness and insanity collide. From the crushing, ultra-distorted grooves
of opener Narcissus and the sluggish, Swans-saluting oppression of Resentment Always Simmers, to the visceral rage attack of By Proxy and blistering covers of Bad Brains' Don't Need It and industrial noise rock icons SLAB!'s pummelling People Pie, Napalm Death's music has never sounded more vital or unique. Nowhere is that more evident than on the new mini-album's closing title track, wherein bassist Shane Embury morphs into his Dark Sky Burial alter-ego for a synapse-torching remix for the ages.
"These songs are pretty much an extension of the last album, but there's a lot of crazy stuff on there and we really went for it," Barney concludes. "With the title track, Shane punted the idea of doing a remix, and I thought yeah, why not? We've always shared a love of things like Coil, and all that dark, soundscape stuff, so I was quite happy for him to do that. Him and Russ [Russell, producer] built the track, with all kinds of inanimate objects being thrown around in very unsavoury ways! [Laughs] It turned out really fucking good."
show less
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Great American Music Hall (GAMH)
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859 O'Farrell Street, San Francisco, CA 94109
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