Napalm Death
Harmony Corruption

THE REVIEW

I don't think I need to explain to anyone who Napalm Death are and what they represent for extreme metal: Napalm Death were the putative fathers of Grindcore and for a long time the combo closest to cacophony/madness in the entire metal scene, so much so that at the beginning they were poorly received by specialized magazines that judged them as the worst band existing (mmmmhh, they did the same years earlier with Hellhammer, the first incarnation of Celtic Frost). At the same time, the large number of fans of these Birmingham madmen also grew: from the seminal "Scum" to "Mentally Murdered" they claimed victims far and wide, gained international relevance, and breathed new life into the scene by bringing an unusual fresh breeze. In this period, Napalm Death was an open project, involving the most prominent and brilliant artists of the fervent underground scene, including Nick Bullen and Justin Broadrick (Head of David and Godflesh), Bill Steer (founder of Carcass), Lee Dorrian (then founder of Cathedral), Mick and Mitch Harris, and Shane Embury (Unseen Terror).

Then the explosive deceleration that "Harmony Corruption" brought with it: the world began to spin a little more slowly around them, the lineup clearly defined itself, laying the foundation for a less chaotic future. Embury, already mentioned, joined on bass, former Benediction "Barney" Greenway on vocals (???!!!!), and former Terrorizer Jesse Pintado on guitar, plus the two Harris, respectively guitar (Mitch) and drums (Mick).

They headed to Florida where Morrisound Studio and especially death metal guru Scott Burns awaited them with open arms. And here something happens: whether it’s the producer (who has the tendency to standardize the sound of the bands he works with), the influences brought by the newcomers, or a sort of compositional maturation, "Harmony Corruption" initially left early fans speechless.

In this release, the band presents itself with a rather traditional death metal, sweetening the grind traits that had marked past releases, and the hardcore/punk reminiscences accelerated to the extreme gave way to a more traditional metal-style songwriting. Listening to it gives the impression of being a deliberately low-fi work, not exactly showcasing its real value, far too accessible to an audience already accustomed to torrid sounds. The production is quite raw and coarse (compared to other Morrissound productions of the period), leading one to think that perhaps the intention of the Albion was indeed to corrode, to rot the traditional death environment, or even to pay homage to historical groups like Repulsion, much loved by a good part of the group members. In any case, we’re certainly not faced with a work lacking interesting critical insights, so if you’re looking for uncompromising violence, then with "Inner Incineration" you'll find what you seek, while if you appreciate the new course, the powerful "Malicious Intent" will not leave you indifferent. With "Unfit Earth", they reinforce their death metal credentials with cameo appearances by John Tardy of Obituary and Glen Benton of Deicide on backing vocals, while with the "hit" "Suffer the Children" (still performed in their current live gigs), you'll take a ride on a runaway train speeding at full tilt.

The texts that the good Barney Greenway prepared for the album are interesting and significant, always focused on the difficulties experienced by the social fabric and the anxieties of an alienating modernity.

In conclusion, this "Harmony Corruption" is certainly to be considered as a piece of history, as well as an isolated case in the band's discography for the type of sound expressed, which laid the foundations for the future Napalm Death who would resume their evolutionary journey from the subsequent "Utopia Banished" towards the unexplored shores of contamination at the edge of industrial.