Name: Scum
Brand: Napalm Death

Tax rate EU

Default:19

Supplier EU

Edel

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2017-03-17

Format multiplier

Catalogue number

1002024ECR

UPC / Barcode

817195020245

FDR Remaster

2018-11-09

1002094ECR

817195020948

Artist

Napalm Death

Label EU

Earache

Genre EU

Metal

Formed in Birmingham, UK in 1982, Napalm Death were one of the bands that defined the UK hardcore thrash/punk sound of the mid-late 1980s. The band has gone through countless line-ups and many former members have become significant figures in a variety of musical scenes.

The first stable line up consisted of Lee Dorrian (vocals), Bill Steer (guitar), Mick Harris (drums) and Shane Embury (bass). By late 1989, Dorrian left to form another band and focus on his label Rise Above. Dorrian was replaced by Barney Greenway, formerly from death metal band Benediction, and an American guitarist Jesse Pintado joined as well. Mitch Harris from Las Vegas' grindcore outfit Righteous Pigs later joined as second guitarist.

Mick Harris left the band in 1991 and has since been involved in a plethora of solo and joint projects/collaborations. He was replaced by Danny Herrera. Currently, Napalm Death consists of Barney Greenway, Mitch Harris, Shane Embury and Danny Herrera.

Earache is a record label founded in Nottingham, UK by Digby Pearson. With a dedication to extreme music, primarily but not exclusively extreme metal, Earache has become a leading force in the genre. Known for their influential roster of artists and commitment to pushing boundaries, Earache continues to be at the forefront of the metal scene.

Since its establishment, Earache has been instrumental in shaping the landscape of extreme music. With an impressive catalog spanning decades, the label has released groundbreaking albums from iconic bands such as Napalm Death, Carcass, and Morbid Angel. Their unwavering support for artists who push the limits of musical expression has earned them a reputation as one of the most respected labels in the industry.

With their distinctive sound and uncompromising vision, Earache remains committed to discovering and nurturing talent that pushes boundaries. As a result, they continue to release innovative and genre-defining music that resonates with fans worldwide. Whether you're a die-hard metalhead or simply appreciate music that challenges conventions, Earache offers an unparalleled selection of extreme music that will leave you craving more.

Newest Listed Items

as a rallying call for what seemed like millions of bands to follow, not to mention the launching point for the varying careers of justin broadrick, nick bullen, mitch harris, lee dorrian, and bill steer, scum deserves its reputation alone. but it's also fun to listen to — a strange word to use, but no doubt about it, the album has its own brand of rock &amp; roll kicks taken to an almost ridiculous extreme. split between the original lineup, with broadrick and bullen, and the next one, with dorrian, steer, and shane embury, scum is a portrait of a place, time, and state of mind. opener multinational corporations is the deep breath taken before the plunge: skittering cymbals, low-key feedback squalls, bullen's rasped hatred — and then all hell breaks loose. the riffs by both the broadrick/bullen and steer/embury teams use hyperconcentrated black sabbath-via-motrhead-and-metallica approaches as starting points, but the moorings are cut loose when everyone concentrates on nothing but speed itself. the combination of hyperspeed drums, crazed but still just clear enough guitar and bass blurs, and utterly unintelligible vocals takes the loud hard fast rules conclusion to a logical extreme that the band's followers could only try to equal instead of better. interspersed throughout all this on various songs are more obviously deliberate constructions — parts of the title track, say, or the focused chug-and-stomp start of siege of power. they act as just enough pacing for the rampages elsewhere, where unrelenting, intense sound becomes its own part of weird ambient music, textures above all else. it's little surprise the free jazz/noise wing latched onto scum as much as wound-up-as-hell headbangers did worldwide.

Scum

Music EU