Napalm Death

Bloodbeat – Process of Extinction Review

By Twelve on June 20, 2021 in Reviews, Death Metal, Thrash Metal, 10 comments

“Bloodbeat hail from Germany and have been creating death-infused thrash metal since 2014. Process of Extinction is their sophomore full-length release, five years following their debut, Murderous Art, back in 2016. Owing to my usual repertoire of music, these are not sentences that I type out too often; their music is not my usual cup of tea, and I suspect I’d enjoy their work more if they… I don’t know, hired an orchestra or something. But sometimes you need music that slays, and that’s exactly what I was in the mood for when I opted to take on this review.” Blood up? Blood down?

Yer Metal is Olde: Mortician – Hacked Up for Barbecue

By Diabolus in Muzaka on March 20, 2021 in Yer Metal Is Olde, 43 comments

2019 saw Holdeneye shock the world by asking the time-honored question we’ve all at least passively pondered: what’s the heaviest record of all time? Kronos, for his part, appeared to answer a short while later in his review for Devourment’s Obscene Majesty. If you asked New York death metal institution and heaviest band in the universe Mortician, the answer would hopefully be a Mortician record.” Brutal cue.

Pupil Slicer – Mirrors Review

By Dear Hollow on March 12, 2021 in Reviews, Ambient, Death Metal, Grind, Mathcore, Noise Rock, Post-Metal, 33 comments

“Pupil Slicer, although undeniably a trio, is vocalist/guitarist Davies’ brainchild through and through, seen in the guitar-and-vocals focus. Mirrors, following up an EP and a series of splits since their 2015 formation, combines its assets into a mathcore Frankenstein’s monster: twisted guitar work and frantic shrieks, Josh Andrews’ blasting drum tracks of an abandoned post-black project, and a healthy dose of Luke Fabian’s formidable bass and gutturals.” Eye on the prize.

Gravesend – Methods of Human Disposal Review

By Carcharodon on February 18, 2021 in Reviews, 62 comments

“We are touring Gravesend’s vision of (I assume) New York, in which we fall into graves and pits of human waste, where your body will be eaten by pests (the title track), discover satanic, knife-wielding meth heads dismembering nuns (“End of the Line”), and face the maddened and diseased residents of a tuberculosis sanatorium (“Unclaimed Remains”). And that’s just for starters. Now imagine these depraved tales set to the manic, explosive fury of Wormrot and Noise for Music’s Sake-era Napalm Death.” Rotten apples.

Narakah – Blast Haven Review

By Grymm on February 12, 2021 in Reviews, Grind, 16 comments

“My deal is that, unless it hooks, grooves, and absolutely obliterates with both heft and speed, it’s not gonna do a damn thing for me. Maybe it’s because I was spoiled at a relatively young age by the likes of Napalm Death, Nasum, Brutal Truth, and the like, but it’s not often that I’m floored by grind these days. But a change of pace can do wonders, and it just so happens that Pittsburgh’s Narakah dropped their second EP, Blast Haven, on us. Nine songs at twelve minutes. Sure, it’s cheating to grab an EP when it’s not EP Season, but if it’s good enough, I can shine some light on it.” Blast heaven.

Heathen – Empire of the Blind [Things You Might Have Missed 2020]

By Dr. A.N. Grier on December 20, 2020 in Things You Might Have Missed 2020, Thrash Metal, 21 comments

“Heathen. I’ve got three shirts that say it and nine people that call me that. I liken it to a word like ‘dickhead.’ It’s got great pop and works in all situations. Though it’s maybe more fun to call my mom a ‘dickhead’ rather than a ‘heathen.’ But, I suppose it depends on the day. Speaking of fun, let’s talk about that other Heathen. The one that released Empire of the Blind, and we never got it.” Blind fury.

Brave the Cold – Scarcity Review

By Steel Druhm on October 1, 2020 in Reviews, Death Metal, Grind, Thrash Metal, 42 comments

“When it was announced that guitarist Mitch Harris and drummer Dirk Verbeuren were collaborating for some kind of death metal project, I was unsure exactly what to expect. Mr. Harris is a grand progenitor of grind, starting out with Righteous Pigs before joining Napalm Death in 1989. Since then he’s helped define an entire genre and dabbled in weirdness on the side, as with Meathook Seed. On the other hand, Dirk Verbeuren has played with Megadeth, Soilwork, Devin Townsend, Warrel Dane, and any number of black and death metal acts. With such a widely traveled duo, the options seem limitless.” Frost grinding.

Napalm Death – Throes of Joy in the Jaws of Defeatism Review

By Ferrous Beuller on September 18, 2020 in Reviews, Death Metal, Grind, 51 comments

“It’s genuinely hard for me to comprehend someone taking a strong dislike to Napalm Death because, above all else, they represent a seal of quality. At this point in their career the band have managed to command their blast-happy frenzy and deathly breakdowns with the kind of fluidity most acts can only imagine. But experimentation has never been far from their arsenal, and new album Throes of Joy in the Jaws of Defeatism is no exception. In a career that spans excellent to reliable, the only real question is: which category does this sixteenth record belong to?” Death throes.

Venomous Concept – Politics Versus the Erection Review

By Saunders on August 30, 2020 in Reviews, Grind, 18 comments

“Venomous Concept return with a pissed off chip on their shoulders, albeit with a satirical tongue in cheek mentality, on fourth LP, Politics Versus the Erection. The grizzled supergroup, comprising vocalist Kevin Sharp (Brutal Truth, Lock Up), Napalm Death duo Shane Embury (bass) and Danny Herrera (drums), along with guitarist John Cooke (Corrupt Moral Altar), dropped their super charged debut Retroactive Abortion back in ’04 and have been sporadically active since.” Erect the Concept.

Decrepid – Endless Sea of Graves Review

By Diabolus in Muzaka on July 6, 2020 in Reviews, Death Metal, 18 comments

“Decrepid is a death metal band from the UK. Predictably, I didn’t guess that on my first listen to Endless Sea of Graves wherein, like any responsible critic, I ignored every digital square inch of promo material the label sent me. Decrepid sound American to my ears, taking most of their songwriting cues from Immolation, Incantation, and Monstrosity and their production cues from Morrisound.” Death over nations.