Napalm Death


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Biografie

Originating from Birmingham, England in the early 80's, the line up for side one of their 'Scum' debut of 1986 (Mick Harris (drums), Justin Broadrick (guitar), Nik Bullen (bass/vocals) had already gone through many changes. It changed once again for side two of 'Scum', with Broadrick departing for Head of David and later Godflesh, to be replaced by Bill Steer, Bullen replaced by Jim Whitely, and one Lee Dorrian taking over vocal duties.

Finally released in 1987, 'Scum' did phenomally well for all its anti-commercial ferocity, and the band set out on their first tour of any length. However, ... Lesen Sie mehr

Originating from Birmingham, England in the early 80's, the line up for side one of their 'Scum' debut of 1986 (Mick Harris (drums), Justin Broadrick (guitar), Nik Bullen (bass/vocals) had already gone through many changes. It changed once again for side two of 'Scum', with Broadrick departing for Head of David and later Godflesh, to be replaced by Bill Steer, Bullen replaced by Jim Whitely, and one Lee Dorrian taking over vocal duties.

Finally released in 1987, 'Scum' did phenomally well for all its anti-commercial ferocity, and the band set out on their first tour of any length. However, there was more line up switch, with Shane Embury replacing Whitely on bass, before this more concrete line up went on to record a string of uncompromising releases (two John Peel Radio sessions, tracks on the 'North Atlantic Noise Attack' and 'Pathological' compilations, and an infamous Napalm/SOB split flexi) that saw them through to August 1989, establishing themselves as the foremost grindcore act. But, no-one could have predicted the mind shattering 'From Enslavement to Obliteration' LP, featuring a staggering 54 tracks on CD, often lasting no more than a matter of seconds and completely turning the musical rule book on its head. The Napalm Death steamroller gathered momentum, and a six track 12" 'Mentally Murdered' gained the band further acclaim and notoriety.

Various television appearances followed, including the bands domineering presence on BBC 2's 'Arena Heavy Metal Special', and Napalm began venturing further afield from the typical European circuit. In July '89 they embarked on a highly successful Japanese tour, but the escalating recognition could not prevent another split in the ranks upon their return, as Dorrian and Steer decided they'd had enough. Both found success with new projects, Cathedral and Carcass respectively, whilst instant replacements were drafted in, with Mark 'Barney' Greenway (ex-Benediction) coming in on vocals, and Jesse Pintado from grind supremos Terrorizer coming in on guitar.

In a flurry of activity, the band immediately embarked upon the UK and European Grindcrusher tour alongside Bolt Thrower, Carcass and Morbid Angel, and then flew out for their first American show in New York. Into the Nineties and all efforts were directed at recording the new LP, and a second guitarist was drafted in the shape of Mitch Harris, ex of Righteous Pigs. This unit recorded 'Harmony Corruption' at Morrisound in Florida. Another 12", 'Suffer the Children' displayed the bands change in emphasis to a more Death Metal style. Although the album proved to be their most successful to date, the band felt that the production on 'Harmony...' was a little too clinical. Finding themselves in between tours, the band went into a tiny studio in Birmingham and recorded four new tracks for the 'Mass Appeal Madness' EP, which possessed a thick wall of rawness and the heaviest all round sound yet.

Napalm Death had toured massively worldwide by mid-'92, and with all the pressures associated with that lifestyle led to a rift between Mick Harris and the rest of the band. Deciding to leave, Harris founded the successful ambient dub outfit Scorn, whilst his vacant place was filled by Danny Herrara, whose first live gig was in front of 3000 fans in Germany. An extensive US jaunt with Sepultura, Sacred Reich and Sick of It All followed, together with a short trip to Russia, playing to a combined audience of 14000 over two shows.

Back in the studio, the band unleashed 'Utopia Banished', the fourth full length LP, a record full of new found intensity. Another 12" was culled, this time the three track 'The World Keeps Turning.' Uniting with Obituary and Dismember the band trekked across Europe once again as part of the 'Campaign for Musical Destruction' tour. This continued into the States with Carcass, Cathedral and Brutal Truth. Other notable live dates followed as support with Faith No More in Holland, before a trip to South Africa in 1993. A compilation, 'Death By Manipulation' was also issued, featuring the best of Napalm Death to date.

Returning from the highly charged atmosphere of South Africa, Napalm recorded a cover of the Dead Kennedy's 'Nazi Punks Fuck Off' as a 7" , with all proceeds going to Anti-Nazi organisations. To this date it has sold over 10,000 copies. More dates took place in Canada, before it was time once again to return to the studio.

Originally called 'Under Rule', the result of all the hard work became 'Fear Emptiness Despair', a fitting title for an album of such brooding intensity. Fans and critics alike acclaimed it as Napalm's finest hour, and live slots with Entombed, Obituary and Machine Head brought the power to hungry audiences. Then, with the latest album 'Diatribes' released in January '96, Napalm Death bluntly accepted the challenge laid down by the new breed of Nineties metal acts - and threw it back in their faces. Bassist Shane Embury, speaking at the time, was typically enthusiastic about the record's prospects: "We've been taking influences from everywhere, and using them to get a more mature sound," he relates. "It's interesting to see what gets people moving in the clubs and at gigs, and we've noticed that what gets them going is songs with a good structure, something they can dance to - although we're not about to write any pop songs. It's just that we're into what bands like Smashing Pumpkins and Jane's Addiction do with their songs, and we draw on that and just make it a lot heavier."

'Diatribes' certainly retained all of Napalm Death's trademark power, but a certain maturity had developed into a tightly focussed idea of what the band can achieve. Most importantly, the album proved that Napalm Death today are as relevant as they'd always been. Lengthy touring of Europe, America, Australia and Japan ensued, but band tensions seemed to be running high. These fears were recognised in November '96, when the band revealed that they had replaced long-term vocalist Barney with Phil Vane from Extreme Noise Terror. A split EP with Coalesce emerged in January 1997, seemingly marked the end of Barney's career in the band, but the partnership with Vane was short lived as during the 'Inside the Torn Apart' recording sessions Barney was dramatically re-instated.

Re-energised the band attacked the recording of the new album with new verve, completing sixteen crushing songs in double quick time. The suitably ironically titled 'Inside the Torn Apart' can be seen as the result of creative tensions working to the maximum effect. With the turmoil within the band out in the open, each individual member seemed determined to let the music do the talking, from the opening salvo of 'Breed to Breathe' and 'Birth In Regress' to the morosely twisted ending of 'The Lifeless Alarm',

With a new lease of life and a powerful back-catalogue under their belt 1997 saw Napalm Death join forces with Coalesce to release the ‘In Tongues We Speak’ EP followed by ‘Breed to Breathe’, clearly establishing their dedication to angst-ridden sounds, serving as a soundtrack to their metamorphosis as a band. This was not solely a metamorphosis that had arisen due to the ever-changing band line-up, but was also characterised by the melodic experimentation doused in killer riffs on the follow-up album ‘Inside the Torn Apart’, featuring the accessible live-favourite ‘Breed to Breathe’.

From this point onwards Napalm Death continued with their qualified aggressive sound that affirmed their position as one of the leading bands in the grindcore/death metal scene and followed their numerous releases with a lengthy European tour in 1997 supporting Machine Head. Yet worldwide touring schedules did not hold the band back from the studio, with ‘Words from the Exit Room’, released in 1998 echoing the brutal qualities of ‘Inside the Torn Apart’. This record features tracks such as ‘The Infiltrator’ and ‘Next of Kin to Chaos’, which bleed with the characteristic energy and dedication that keep the band alive, without falling into stagnancy. The band’s dedication was certainly spurred on by the unerring support from fans worldwide and eventually accumulated in the decision to release a live record in 1999. ‘Bootlegged in Japan’ gives fans a slice of Napalm Death’s live charisma to cherish past the frantic live performances. The 2000 release of Napalm Death’s ‘Complete Radio 1 Sessions’ reinforces the bands ability to connect with a mainstream audience.

Napalm Death established themselves as a band with a clear direction, with the confidence to offload political concerns onto the records, shedding their worldly perspectives through their vibrant sound. 2001 saw the release of the chaotic sounding album ‘Enemy of the Music Business’, which proved as the band’s opportunity to vent their anger concerning the industry with tracks such as ‘Thanks for Nothing’ and ‘Can’t Play, Won’t Pay’ infiltrating into the minds of their devoted followers, and clearly defining the grindcore/death metal scene with anger of unrelenting monstrosity. The aggression of Barney’s intricately rasping vocals on this record were neatly followed up by 2002’s aggressive offering ‘Order of the Leech’, giving fans a further taster of Napalm Death’s punishing sound, with the distressed feel of songs such as ‘Forced to Fear’ fuelled with the inspirational message to make something of yourself that the band have toiled with throughout their career.

After the success of album releases Napalm Death released the DVD ‘Punishment in Captials’ following them on their headlining shows at London’s ULU and showing the fever of their live performance in front of a large-scale crowds worldwide. This DVD clearly proved Napalm Death’s popularity and was followed up by the mammoth two-disc retrospective ‘Noise for Music’s Sake; in 2003, featuring rarities and unreleased recordings such as 1987s live version of ‘Deceiver’ with Mitch Dickinson of Unseen Terror on guitar. The confidence demonstrated by the release of a two disc collection of previous songs was reaffirmed by the 2004 follow up to earlier record ‘Leaders of the Followers’, featuring covers of old hardcore punk and heavy metal bands such as Massacre and Sepultura.

Napalm Death do not appear to be able to run out of steam, motoring into 2005 with the release of ‘The Code is Red… Long Live the Code’ continuing their progressive approach to brutal death-metal, yet still with their underlying grindcore sound. With guest appearances from Jeffrey Walker formerly of Carcass, Jamey Jasta from Hatebreed and Jello Biatra formerly of Dead Kennedys fame, Napalm Death have proved themselves as unrivalled masters in their genre. They seemingly have an everlasting drive and dedication to pick themselves up from life’s troubles and hit back with their venomous, yet wholly infectious sound.

Diese Biografie wurde von den Künstlern oder deren Vertretern bereitgestellt.

Originating from Birmingham, England in the early 80's, the line up for side one of their 'Scum' debut of 1986 (Mick Harris (drums), Justin Broadrick (guitar), Nik Bullen (bass/vocals) had already gone through many changes. It changed once again for side two of 'Scum', with Broadrick departing for Head of David and later Godflesh, to be replaced by Bill Steer, Bullen replaced by Jim Whitely, and one Lee Dorrian taking over vocal duties.

Finally released in 1987, 'Scum' did phenomally well for all its anti-commercial ferocity, and the band set out on their first tour of any length. However, there was more line up switch, with Shane Embury replacing Whitely on bass, before this more concrete line up went on to record a string of uncompromising releases (two John Peel Radio sessions, tracks on the 'North Atlantic Noise Attack' and 'Pathological' compilations, and an infamous Napalm/SOB split flexi) that saw them through to August 1989, establishing themselves as the foremost grindcore act. But, no-one could have predicted the mind shattering 'From Enslavement to Obliteration' LP, featuring a staggering 54 tracks on CD, often lasting no more than a matter of seconds and completely turning the musical rule book on its head. The Napalm Death steamroller gathered momentum, and a six track 12" 'Mentally Murdered' gained the band further acclaim and notoriety.

Various television appearances followed, including the bands domineering presence on BBC 2's 'Arena Heavy Metal Special', and Napalm began venturing further afield from the typical European circuit. In July '89 they embarked on a highly successful Japanese tour, but the escalating recognition could not prevent another split in the ranks upon their return, as Dorrian and Steer decided they'd had enough. Both found success with new projects, Cathedral and Carcass respectively, whilst instant replacements were drafted in, with Mark 'Barney' Greenway (ex-Benediction) coming in on vocals, and Jesse Pintado from grind supremos Terrorizer coming in on guitar.

In a flurry of activity, the band immediately embarked upon the UK and European Grindcrusher tour alongside Bolt Thrower, Carcass and Morbid Angel, and then flew out for their first American show in New York. Into the Nineties and all efforts were directed at recording the new LP, and a second guitarist was drafted in the shape of Mitch Harris, ex of Righteous Pigs. This unit recorded 'Harmony Corruption' at Morrisound in Florida. Another 12", 'Suffer the Children' displayed the bands change in emphasis to a more Death Metal style. Although the album proved to be their most successful to date, the band felt that the production on 'Harmony...' was a little too clinical. Finding themselves in between tours, the band went into a tiny studio in Birmingham and recorded four new tracks for the 'Mass Appeal Madness' EP, which possessed a thick wall of rawness and the heaviest all round sound yet.

Napalm Death had toured massively worldwide by mid-'92, and with all the pressures associated with that lifestyle led to a rift between Mick Harris and the rest of the band. Deciding to leave, Harris founded the successful ambient dub outfit Scorn, whilst his vacant place was filled by Danny Herrara, whose first live gig was in front of 3000 fans in Germany. An extensive US jaunt with Sepultura, Sacred Reich and Sick of It All followed, together with a short trip to Russia, playing to a combined audience of 14000 over two shows.

Back in the studio, the band unleashed 'Utopia Banished', the fourth full length LP, a record full of new found intensity. Another 12" was culled, this time the three track 'The World Keeps Turning.' Uniting with Obituary and Dismember the band trekked across Europe once again as part of the 'Campaign for Musical Destruction' tour. This continued into the States with Carcass, Cathedral and Brutal Truth. Other notable live dates followed as support with Faith No More in Holland, before a trip to South Africa in 1993. A compilation, 'Death By Manipulation' was also issued, featuring the best of Napalm Death to date.

Returning from the highly charged atmosphere of South Africa, Napalm recorded a cover of the Dead Kennedy's 'Nazi Punks Fuck Off' as a 7" , with all proceeds going to Anti-Nazi organisations. To this date it has sold over 10,000 copies. More dates took place in Canada, before it was time once again to return to the studio.

Originally called 'Under Rule', the result of all the hard work became 'Fear Emptiness Despair', a fitting title for an album of such brooding intensity. Fans and critics alike acclaimed it as Napalm's finest hour, and live slots with Entombed, Obituary and Machine Head brought the power to hungry audiences. Then, with the latest album 'Diatribes' released in January '96, Napalm Death bluntly accepted the challenge laid down by the new breed of Nineties metal acts - and threw it back in their faces. Bassist Shane Embury, speaking at the time, was typically enthusiastic about the record's prospects: "We've been taking influences from everywhere, and using them to get a more mature sound," he relates. "It's interesting to see what gets people moving in the clubs and at gigs, and we've noticed that what gets them going is songs with a good structure, something they can dance to - although we're not about to write any pop songs. It's just that we're into what bands like Smashing Pumpkins and Jane's Addiction do with their songs, and we draw on that and just make it a lot heavier."

'Diatribes' certainly retained all of Napalm Death's trademark power, but a certain maturity had developed into a tightly focussed idea of what the band can achieve. Most importantly, the album proved that Napalm Death today are as relevant as they'd always been. Lengthy touring of Europe, America, Australia and Japan ensued, but band tensions seemed to be running high. These fears were recognised in November '96, when the band revealed that they had replaced long-term vocalist Barney with Phil Vane from Extreme Noise Terror. A split EP with Coalesce emerged in January 1997, seemingly marked the end of Barney's career in the band, but the partnership with Vane was short lived as during the 'Inside the Torn Apart' recording sessions Barney was dramatically re-instated.

Re-energised the band attacked the recording of the new album with new verve, completing sixteen crushing songs in double quick time. The suitably ironically titled 'Inside the Torn Apart' can be seen as the result of creative tensions working to the maximum effect. With the turmoil within the band out in the open, each individual member seemed determined to let the music do the talking, from the opening salvo of 'Breed to Breathe' and 'Birth In Regress' to the morosely twisted ending of 'The Lifeless Alarm',

With a new lease of life and a powerful back-catalogue under their belt 1997 saw Napalm Death join forces with Coalesce to release the ‘In Tongues We Speak’ EP followed by ‘Breed to Breathe’, clearly establishing their dedication to angst-ridden sounds, serving as a soundtrack to their metamorphosis as a band. This was not solely a metamorphosis that had arisen due to the ever-changing band line-up, but was also characterised by the melodic experimentation doused in killer riffs on the follow-up album ‘Inside the Torn Apart’, featuring the accessible live-favourite ‘Breed to Breathe’.

From this point onwards Napalm Death continued with their qualified aggressive sound that affirmed their position as one of the leading bands in the grindcore/death metal scene and followed their numerous releases with a lengthy European tour in 1997 supporting Machine Head. Yet worldwide touring schedules did not hold the band back from the studio, with ‘Words from the Exit Room’, released in 1998 echoing the brutal qualities of ‘Inside the Torn Apart’. This record features tracks such as ‘The Infiltrator’ and ‘Next of Kin to Chaos’, which bleed with the characteristic energy and dedication that keep the band alive, without falling into stagnancy. The band’s dedication was certainly spurred on by the unerring support from fans worldwide and eventually accumulated in the decision to release a live record in 1999. ‘Bootlegged in Japan’ gives fans a slice of Napalm Death’s live charisma to cherish past the frantic live performances. The 2000 release of Napalm Death’s ‘Complete Radio 1 Sessions’ reinforces the bands ability to connect with a mainstream audience.

Napalm Death established themselves as a band with a clear direction, with the confidence to offload political concerns onto the records, shedding their worldly perspectives through their vibrant sound. 2001 saw the release of the chaotic sounding album ‘Enemy of the Music Business’, which proved as the band’s opportunity to vent their anger concerning the industry with tracks such as ‘Thanks for Nothing’ and ‘Can’t Play, Won’t Pay’ infiltrating into the minds of their devoted followers, and clearly defining the grindcore/death metal scene with anger of unrelenting monstrosity. The aggression of Barney’s intricately rasping vocals on this record were neatly followed up by 2002’s aggressive offering ‘Order of the Leech’, giving fans a further taster of Napalm Death’s punishing sound, with the distressed feel of songs such as ‘Forced to Fear’ fuelled with the inspirational message to make something of yourself that the band have toiled with throughout their career.

After the success of album releases Napalm Death released the DVD ‘Punishment in Captials’ following them on their headlining shows at London’s ULU and showing the fever of their live performance in front of a large-scale crowds worldwide. This DVD clearly proved Napalm Death’s popularity and was followed up by the mammoth two-disc retrospective ‘Noise for Music’s Sake; in 2003, featuring rarities and unreleased recordings such as 1987s live version of ‘Deceiver’ with Mitch Dickinson of Unseen Terror on guitar. The confidence demonstrated by the release of a two disc collection of previous songs was reaffirmed by the 2004 follow up to earlier record ‘Leaders of the Followers’, featuring covers of old hardcore punk and heavy metal bands such as Massacre and Sepultura.

Napalm Death do not appear to be able to run out of steam, motoring into 2005 with the release of ‘The Code is Red… Long Live the Code’ continuing their progressive approach to brutal death-metal, yet still with their underlying grindcore sound. With guest appearances from Jeffrey Walker formerly of Carcass, Jamey Jasta from Hatebreed and Jello Biatra formerly of Dead Kennedys fame, Napalm Death have proved themselves as unrivalled masters in their genre. They seemingly have an everlasting drive and dedication to pick themselves up from life’s troubles and hit back with their venomous, yet wholly infectious sound.

Diese Biografie wurde von den Künstlern oder deren Vertretern bereitgestellt.

Originating from Birmingham, England in the early 80's, the line up for side one of their 'Scum' debut of 1986 (Mick Harris (drums), Justin Broadrick (guitar), Nik Bullen (bass/vocals) had already gone through many changes. It changed once again for side two of 'Scum', with Broadrick departing for Head of David and later Godflesh, to be replaced by Bill Steer, Bullen replaced by Jim Whitely, and one Lee Dorrian taking over vocal duties.

Finally released in 1987, 'Scum' did phenomally well for all its anti-commercial ferocity, and the band set out on their first tour of any length. However, there was more line up switch, with Shane Embury replacing Whitely on bass, before this more concrete line up went on to record a string of uncompromising releases (two John Peel Radio sessions, tracks on the 'North Atlantic Noise Attack' and 'Pathological' compilations, and an infamous Napalm/SOB split flexi) that saw them through to August 1989, establishing themselves as the foremost grindcore act. But, no-one could have predicted the mind shattering 'From Enslavement to Obliteration' LP, featuring a staggering 54 tracks on CD, often lasting no more than a matter of seconds and completely turning the musical rule book on its head. The Napalm Death steamroller gathered momentum, and a six track 12" 'Mentally Murdered' gained the band further acclaim and notoriety.

Various television appearances followed, including the bands domineering presence on BBC 2's 'Arena Heavy Metal Special', and Napalm began venturing further afield from the typical European circuit. In July '89 they embarked on a highly successful Japanese tour, but the escalating recognition could not prevent another split in the ranks upon their return, as Dorrian and Steer decided they'd had enough. Both found success with new projects, Cathedral and Carcass respectively, whilst instant replacements were drafted in, with Mark 'Barney' Greenway (ex-Benediction) coming in on vocals, and Jesse Pintado from grind supremos Terrorizer coming in on guitar.

In a flurry of activity, the band immediately embarked upon the UK and European Grindcrusher tour alongside Bolt Thrower, Carcass and Morbid Angel, and then flew out for their first American show in New York. Into the Nineties and all efforts were directed at recording the new LP, and a second guitarist was drafted in the shape of Mitch Harris, ex of Righteous Pigs. This unit recorded 'Harmony Corruption' at Morrisound in Florida. Another 12", 'Suffer the Children' displayed the bands change in emphasis to a more Death Metal style. Although the album proved to be their most successful to date, the band felt that the production on 'Harmony...' was a little too clinical. Finding themselves in between tours, the band went into a tiny studio in Birmingham and recorded four new tracks for the 'Mass Appeal Madness' EP, which possessed a thick wall of rawness and the heaviest all round sound yet.

Napalm Death had toured massively worldwide by mid-'92, and with all the pressures associated with that lifestyle led to a rift between Mick Harris and the rest of the band. Deciding to leave, Harris founded the successful ambient dub outfit Scorn, whilst his vacant place was filled by Danny Herrara, whose first live gig was in front of 3000 fans in Germany. An extensive US jaunt with Sepultura, Sacred Reich and Sick of It All followed, together with a short trip to Russia, playing to a combined audience of 14000 over two shows.

Back in the studio, the band unleashed 'Utopia Banished', the fourth full length LP, a record full of new found intensity. Another 12" was culled, this time the three track 'The World Keeps Turning.' Uniting with Obituary and Dismember the band trekked across Europe once again as part of the 'Campaign for Musical Destruction' tour. This continued into the States with Carcass, Cathedral and Brutal Truth. Other notable live dates followed as support with Faith No More in Holland, before a trip to South Africa in 1993. A compilation, 'Death By Manipulation' was also issued, featuring the best of Napalm Death to date.

Returning from the highly charged atmosphere of South Africa, Napalm recorded a cover of the Dead Kennedy's 'Nazi Punks Fuck Off' as a 7" , with all proceeds going to Anti-Nazi organisations. To this date it has sold over 10,000 copies. More dates took place in Canada, before it was time once again to return to the studio.

Originally called 'Under Rule', the result of all the hard work became 'Fear Emptiness Despair', a fitting title for an album of such brooding intensity. Fans and critics alike acclaimed it as Napalm's finest hour, and live slots with Entombed, Obituary and Machine Head brought the power to hungry audiences. Then, with the latest album 'Diatribes' released in January '96, Napalm Death bluntly accepted the challenge laid down by the new breed of Nineties metal acts - and threw it back in their faces. Bassist Shane Embury, speaking at the time, was typically enthusiastic about the record's prospects: "We've been taking influences from everywhere, and using them to get a more mature sound," he relates. "It's interesting to see what gets people moving in the clubs and at gigs, and we've noticed that what gets them going is songs with a good structure, something they can dance to - although we're not about to write any pop songs. It's just that we're into what bands like Smashing Pumpkins and Jane's Addiction do with their songs, and we draw on that and just make it a lot heavier."

'Diatribes' certainly retained all of Napalm Death's trademark power, but a certain maturity had developed into a tightly focussed idea of what the band can achieve. Most importantly, the album proved that Napalm Death today are as relevant as they'd always been. Lengthy touring of Europe, America, Australia and Japan ensued, but band tensions seemed to be running high. These fears were recognised in November '96, when the band revealed that they had replaced long-term vocalist Barney with Phil Vane from Extreme Noise Terror. A split EP with Coalesce emerged in January 1997, seemingly marked the end of Barney's career in the band, but the partnership with Vane was short lived as during the 'Inside the Torn Apart' recording sessions Barney was dramatically re-instated.

Re-energised the band attacked the recording of the new album with new verve, completing sixteen crushing songs in double quick time. The suitably ironically titled 'Inside the Torn Apart' can be seen as the result of creative tensions working to the maximum effect. With the turmoil within the band out in the open, each individual member seemed determined to let the music do the talking, from the opening salvo of 'Breed to Breathe' and 'Birth In Regress' to the morosely twisted ending of 'The Lifeless Alarm',

With a new lease of life and a powerful back-catalogue under their belt 1997 saw Napalm Death join forces with Coalesce to release the ‘In Tongues We Speak’ EP followed by ‘Breed to Breathe’, clearly establishing their dedication to angst-ridden sounds, serving as a soundtrack to their metamorphosis as a band. This was not solely a metamorphosis that had arisen due to the ever-changing band line-up, but was also characterised by the melodic experimentation doused in killer riffs on the follow-up album ‘Inside the Torn Apart’, featuring the accessible live-favourite ‘Breed to Breathe’.

From this point onwards Napalm Death continued with their qualified aggressive sound that affirmed their position as one of the leading bands in the grindcore/death metal scene and followed their numerous releases with a lengthy European tour in 1997 supporting Machine Head. Yet worldwide touring schedules did not hold the band back from the studio, with ‘Words from the Exit Room’, released in 1998 echoing the brutal qualities of ‘Inside the Torn Apart’. This record features tracks such as ‘The Infiltrator’ and ‘Next of Kin to Chaos’, which bleed with the characteristic energy and dedication that keep the band alive, without falling into stagnancy. The band’s dedication was certainly spurred on by the unerring support from fans worldwide and eventually accumulated in the decision to release a live record in 1999. ‘Bootlegged in Japan’ gives fans a slice of Napalm Death’s live charisma to cherish past the frantic live performances. The 2000 release of Napalm Death’s ‘Complete Radio 1 Sessions’ reinforces the bands ability to connect with a mainstream audience.

Napalm Death established themselves as a band with a clear direction, with the confidence to offload political concerns onto the records, shedding their worldly perspectives through their vibrant sound. 2001 saw the release of the chaotic sounding album ‘Enemy of the Music Business’, which proved as the band’s opportunity to vent their anger concerning the industry with tracks such as ‘Thanks for Nothing’ and ‘Can’t Play, Won’t Pay’ infiltrating into the minds of their devoted followers, and clearly defining the grindcore/death metal scene with anger of unrelenting monstrosity. The aggression of Barney’s intricately rasping vocals on this record were neatly followed up by 2002’s aggressive offering ‘Order of the Leech’, giving fans a further taster of Napalm Death’s punishing sound, with the distressed feel of songs such as ‘Forced to Fear’ fuelled with the inspirational message to make something of yourself that the band have toiled with throughout their career.

After the success of album releases Napalm Death released the DVD ‘Punishment in Captials’ following them on their headlining shows at London’s ULU and showing the fever of their live performance in front of a large-scale crowds worldwide. This DVD clearly proved Napalm Death’s popularity and was followed up by the mammoth two-disc retrospective ‘Noise for Music’s Sake; in 2003, featuring rarities and unreleased recordings such as 1987s live version of ‘Deceiver’ with Mitch Dickinson of Unseen Terror on guitar. The confidence demonstrated by the release of a two disc collection of previous songs was reaffirmed by the 2004 follow up to earlier record ‘Leaders of the Followers’, featuring covers of old hardcore punk and heavy metal bands such as Massacre and Sepultura.

Napalm Death do not appear to be able to run out of steam, motoring into 2005 with the release of ‘The Code is Red… Long Live the Code’ continuing their progressive approach to brutal death-metal, yet still with their underlying grindcore sound. With guest appearances from Jeffrey Walker formerly of Carcass, Jamey Jasta from Hatebreed and Jello Biatra formerly of Dead Kennedys fame, Napalm Death have proved themselves as unrivalled masters in their genre. They seemingly have an everlasting drive and dedication to pick themselves up from life’s troubles and hit back with their venomous, yet wholly infectious sound.

Diese Biografie wurde von den Künstlern oder deren Vertretern bereitgestellt.

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