“Resentment always simmers.”
Kicking off their Campaign for Musical Destruction tour in February, Napalm Death spread their signature sonic blasphemy across Europe, reinforcing their long-standing agenda of “Noise, Not Music.” With their grotesque blend of grindcore, death metal, and absolute aural annihilation, the band left a trail of devastation in their wake, which was soon to infect the UK.
Joining them for this barrage of brutality were US hard hitters; Crowbar, Full of Hell, and BRAT; who each brought their own brand of metallic aggression on this tour. From raw, unfiltered distortion to crushing, chug-heavy riffs, this lineup was a sickening showcase of extreme metal’s best talent. With Napalm Death as their leader, these acts forged a tour that was a slaughter of the senses, shattering the boundaries of metal and blurring the lines between noise and music.
Words by Emily Cole at London show, photography by Sophie Robinson in Liverpool – contact prior to any use.
Opening this instance of musical destruction were the NOLA deathgrind/hardcore band, BRAT. Although their music may be presented with adorable pink packaging and light-hearted performances, BRAT’s music is anything but soft. Transitioning from Britney Spears into their brutal hardcore riffs, it was clear that they weren’t there just to entertain—they were here to obliterate. With every breakdown and grinding riff, the band powered through their set, with frontwoman, Liz Selfish, commanding the stage with her entrancing dance moves and powerful vocal delivery. BRAT’s performance was certainly a “Human Offence” on the ears, and proved that beneath their playful aesthetic lies pure, hardcore grit.
Full of Hell were second in this formidable line-up, and it’s safe to say that their live performances live up to their name. From start to finish, Full of Hell displayed one of the most terrifying sets I’ve witnessed – filled with abused synthesisers, spit-covered microphones, and horrendous, bit-crushed distortion. This experimental cacophony was heightened by Dylan Walker’s disgusting vocals and extremely nihilistic rants, reminding us that this is nothing more than a “Rose Tinted World”. Full of Hell’s set was filled with a collection of their brief yet malicious tracks, including “Doors to Mental Agony” and “Schizoid Rupture” – each of which served as bursts of momentary violence. Overall, their performance was the perfect demonstration of their grind-infused sound that truly left the crowd “Crawling Back to God”.
The third and final support act for this gig was Crowbar. Despite frontman, Kirk Windstein, being unwell, he pushed through their set with flawless vocals and powerful riffs, stating that “beer fixes everything”. As they performed each song, their downtempo, sludge-filled devastation was felt in every heavy chug of the guitar and slam of the snare, reminding everyone that “Suffering Brings Wisdom”. True to their roots, the band delivered a savage performance that showcased the unmistakable power of a true NOLA breakdown and proved that Crowbar rightly deserve their place at the height of the sludge scene. Every track they played was a masterclass in heavy, straightforward grooves, filled with absolute auditory agony that cemented their reputation as pioneers of the genre.
Last to the stage and reigning from the borough of “Soli-hell” were Birmingham noise legends, Napalm Death. As each member took to the stage, they heavily contrasted against each other with mismatched presentation that perfectly reflected the dissonant, ignorant “music” they were about to unleash. In particular, Napalm’s frontman, Barney Greenway, presented himself with a classic punk ensemble, consisting of black suspenders and a neatly tucked white shirt; backed up by his classic grindcore attitude and values.
Their set was a rapid-fire assault of short, hostile tracks, including their iconic, record-holding song, “You Suffer” – easily missed with a blink of the ears, and leaving those who caught it in sheer brevity. They closed the show with their explosive and politically relevant anthem, “Nazi Punks Fuck Off“. This ignited the audience into their primal “Instinct of Survival”: A frenzy of defiance and comradery, driving this organised chaos. Napalm Death’s performance was a raw, unrelenting display of Noise for Music’s Sake, reaffirming their legacy as Harmony Corruption of the conventional and reminding everyone of the Scum we live amongst.