Name: Scum
Brand: Napalm Death

Bonus disc

Bonus disc: No

Catalogue number

ERRE3B.1

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Colour

Black

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Blue Edition

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Format Music US

Limited edition

Release date

2022-09-23

Signed copies

Signed copies: No

Supplier US

Tax rate US

Sales:8.875

UPC / Barcode

5055006900330

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Total Cap

1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / black

A 502024

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{"blocks": [{"data": {"text": "LP"}, "type": "paragraph"}]}

2016-12-09

WEA /­ ADA

817195020245

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Artist

Napalm Death

Genre US

Metal

Label US

Earache

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.

Back In Stock

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 US