From primitive origins nearly four decades ago (their first vinyl appearance being on a 1984 Crass Bullshit Detector comp), NAPALM DEATH has been a prime-mover in defining the sound of the underground. The Birmingham UK born band has pushed sonic speed limits, galvinzied the extremes of metal, punk and hardcore - creating "grindcore" in the process - and kicked against the conventions of cultural oppression. From the release of 1987's Scum, their code has always been in the red. Now, with 2020's Throes of Joy In The Jaws of Defeatism their considered rejection of oppression and complacency continues spectacularly. It's another chapter in NAPALM DEATH's life more (dis)orderly that leaves most aural extremists in the dirt.
Helmed by mainstays Shane Embury (who joined up in time for 1988's From Enslavement To Obliteration) and vocalist Barney Greenway (who joined on 1990's Harmony Corruption) and drummer Danny Herrera (who signed on in 1991 with Utopia Banished), NAPALM DEATH have moved from landmark to landmark. They shattered mainstream sensibilities early on in the UK regularly appearing on esteemed DJ, John Peel's weekly BBC radio show. They've always followed through on humanity-driven musical endeavors - touring South Africa at the end of Apartheid, which inspired their cover of the Dead Kennedy's "Nazi Punks Fuck Off'. They've also found musical kinship with artists as diverse as the Foo Fighters' Dave Grohl, jazz extremist John Zorn all the way to Slayer, who brought them on their final US tour in 2018.
NAPALM DEATH hasn't been content to live as iconoclasts on the bleeding edge of music as we know it. They're in a constant state of musical reinvigoration: moving from grind to death metal and hardcore punk to post-punk and back again. It's a musical scorched earth mission which shows zero possibility of ever selling out or slowing down and remains unafraid to make sure you know exactly where they stand. Truth is, we need them now more than ever.