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Napalm Death
Описание: Бирмингем, Англия. С 1981 по настоящий момент. Основоположники грайндкора, оказавшие глубокое влияние на весь экстремальный спектр метала и панка.
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 as 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.
However, unlike the vast majority of so-called veteran bands, NAPALM DEATH seem to be gaining momentum and focus as their story continues into its fourth decade. Albums like Smear Campaign (2006), Time Waits For No Slave (2009) and Utilitarian (2012) have proved beyond doubt that while their creators remain firmly at the forefront of the grindcore scene, they are also increasingly capable of expanding the boundaries of their own sound while exhibiting an undying passion for incorporating the most unimaginably intense and perverse fresh elements into their otherwise remorselessly fast and furious blueprint. And now, with the release of their fifteenth studio album, Apex Predator – Easy Meat, the undisputed Gods of Grind are poised to shatter preconceptions and redefine what it means to be truly extreme all over again.
“I guess the word to use is thrusting! It really goes for the throat!” says Barney. “People probably look at NAPALM and think ‘Fuck me, is that band still around?’ There’s a natural tendency as bands go on, that people on the outside say ‘Oh, they’re still making albums but they must be a bit humdrum now…’ and you know what? That’s something that I hope no one ever says about us. I find I don’t want something more refined or less extreme, I want something more extreme. Sometimes we’ll be in the studio and someone will say ‘Isn’t that a bit noisy?’ and I’ll say ‘Fucking hell, what do you mean? Turn it up! Let’s go and throw a microphone through the speaker!’ So that’s our attitude. The age of the band should never come into it. Just because you’re older, it doesn’t mean you lose the urge to make something challenging… or even annoying! Some of the sounds that NAPALM use are deliberately designed to annoy people, no question!”
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 as 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.
However, unlike the vast majority of so-called veteran bands, NAPALM DEATH seem to be gaining momentum and focus as their story continues into its fourth decade. Albums like Smear Campaign (2006), Time Waits For No Slave (2009) and Utilitarian (2012) have proved beyond doubt that while their creators remain firmly at the forefront of the grindcore scene, they are also increasingly capable of expanding the boundaries of their own sound while exhibiting an undying passion for incorporating the most unimaginably intense and perverse fresh elements into their otherwise remorselessly fast and furious blueprint. And now, with the release of their fifteenth studio album, Apex Predator – Easy Meat, the undisputed Gods of Grind are poised to shatter preconceptions and redefine what it means to be truly extreme all over again.
“I guess the word to use is thrusting! It really goes for the throat!” says Barney. “People probably look at NAPALM and think ‘Fuck me, is that band still around?’ There’s a natural tendency as bands go on, that people on the outside say ‘Oh, they’re still making albums but they must be a bit humdrum now…’ and you know what? That’s something that I hope no one ever says about us. I find I don’t want something more refined or less extreme, I want something more extreme. Sometimes we’ll be in the studio and someone will say ‘Isn’t that a bit noisy?’ and I’ll say ‘Fucking hell, what do you mean? Turn it up! Let’s go and throw a microphone through the speaker!’ So that’s our attitude. The age of the band should never come into it. Just because you’re older, it doesn’t mean you lose the urge to make something challenging… or even annoying! Some of the sounds that NAPALM use are deliberately designed to annoy people, no question!”
