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NAPALM DEATH / Press

“Review of the new album "Utilitarian" Some of the things I have come to love about Napalm Death are the same things that each one of their albums entail. When you pick up something from this Birmingham Power-house, you can expect intense music that hits you almost like a sucker-punch from nowhere, but also lyrics that tend to make you think and express more song topics than death and destruction. “Utilitarian,” Napalm Death’s 15th full-length album, contains all of the aforementioned elements, yet still adds new tidbits of noise scapes and experimental musical passages that you wouldn’t quite expect from a Napalm Death record.”

“Review of 'The Code is red...Long live the code' In a word, yes. The Code Is Red... is Napalm Death's best album in years, a bruising, crushing 45 minutes of mayhem that never lets up in its ferocity and yet travels through various types of violent mood swing in order to achieve its goal.”

“Review of 'Smear campaign' On the occasions when the band experiment, they do so with more than enough panache to make it work. Be it the haunting closing strains of the album's title track, replete with Greenway going at it Swans-style on the microphone, or even The Gathering's Anneke Van Giersbergen lending her voice to "In Deference", _Smear Campaign_ presents what could well be Napalm Death's strongest technical achievement to date. Even if that point is debatable, then what's exempt of any dispute here is that Napalm Death have yet again proven themselves to be one of the most reliably consistent entities in extreme music.”

“Review of 'Time waits for no Slave' So what do you get when the originators come back and absolutely school each and every deathcore band, making them look like they are twiddling their dicks in the back of their sixth grade classroom? Satisfaction, that’s what you get. Napalm Death has circumvented the natural order of metal by refusing to pass on the torch to the up and comers, and not only that, they have systematically ruined the concept of deathcore. Time Waits For No Slave is so fucking good, that it has, in one felt swoop, made every deathcore riff obsolete. What began in 1987 has come full circle with more aggression, better production, the vocals of Barney Greenway, and 15 years of death and grindcore to build upon. Time Waits For No Slave is essentially a bigger, better, anabolic steroid filled version of Scum with much more death metal.”

“Review of 'Time waits for no Slave' If Napalm Death were to rest on their laurels and tour casually and record only a halfway decent album no one would hold it against them. Napalm Death, after all, is the band that recorded Scum, From Enslavement to Obliteration, Harmony Corruption and Enemy of the Music Business. Thankfully, the English grind legends appear to have no inclination whatsoever to rest on past accomplishments. Napalm's 13th album Time Waits For No Slave is yet another incendiary blast from a band that appears hell-bent on topping themselves with each new release despite the fact that all of the members have started the inevitable lurch toward the half-century mark.”

“Review of 'Words from the Exit Wound" The essence of Napalm is not rare, but refined. 'Words...' is a blizzard of noise, sheet-steel guitars and indecipherable grunts; impenetrable and impolite, but satisfyingly self-fulfilling. They know best, let them get on with it. 'Cleanse Impure' and 'None The Wiser?' have tunes. Slackers. ”