“Thanks for fucking nothing!” Vocalist Barney Greenway screams at the top of his lungs as the NAPALM DEATH collective shine a formidable middle-finger in the face of the music industry. This four-piece from the UK have terrorized the airwaves for over two decades spouting their political minded messages at the top of their lungs and barraging fans of Grind and Death Metal alike with a brand of signature violence many have attempted to copy.
Countless bands have flailed desperately to return to their roots and capture that spark which ignited their career yet very few actually manage to accomplish this enigma. “Enemy Of The Music Business” is a landmark in that it truly does capture the grand spark of hatred, youth and intensity ND so affectionately displayed early in their career. The inspiration and wrath manifested itself due to a set of unique circumstances. See, the corporate hatred and lyrics within this stellar album stem from frustrations NAPALM DEATH were having with Earache Records at the time. This provided the necessary kick in the chops to fuel this monstrosity into returning to their more extreme Death/Grind sound after the previous experimental material displayed on the previous couple albums (they even returned to the kick ass logo of old).
This album is pure chaos. I cannot think of better music to thrash about and destroy the contents of a room with. The intensity is captured intricately in Barney’s voice as he yells and rasps with such a force that he must have been given a wastebasket to vomit blood into in between tracks as it is that off the wall and unrelenting. The vocals excellently support the combination of old school Grind and infectious Death Metal that is hectically painted with the twin guitar attack of Mitch Harris and Jesse Pintado. The riffs these two geniuses’ fabricate leap from the speakers and tear through the jugular. These are the most catchy, brutal and sheer headbangarific leads/riffs I’ve heard from NAPALM DEATH in a long time. Just try getting through this album in one piece and then popping in “Words From The Exit Wound” or “Inside The Torn Apart.” You’ll find it impossible to sit through the latter two albums as it is comparable to going from a chainsaw to a soup spoon.
While Mitch Harris and Jesse Pintado are at the top of their game, they still fail to reach the aggression of drummer Danny Herrera. This guy is a goddamn caged tornado kept captive behind the kit. I have never heard so many interesting fills crammed into a Grindcore album. If one had a front seat in the studio during this recording, I would be willing to bet that the man behind the skins was merely a blur as his arms were flurrying about at an inhuman speed. Danny also implements many blast beats (who would have thought?) which avoid the pitfall of sounding dull and blurring into the background noise. They truly stand out and when paired with the many riffs throughout give each and every song its own true identity.
This little gem is one of NAPALM DEATH’s best works and has since ushered in a new wave of old for these legends as ND have stuck with their grind roots and strayed from their mid-90’s experimental sound. Fans of Grind and Death Metal unite and bask yourselves in this golden sunshine of extreme nastiness and ultra-violence. (Online April 11, 2005)