Putrid Offal – Mature Necropsy


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I’ll let you in on a secret – reviewers hate getting albums like Mature Necropsy (Kaotoxin) in their to-do pile.  Not because they’re bad (far from it – it is an absolute master-class in what it does), but because there’s little to say about them.  If you think Symphonies of Sickness (Earache) -era Carcass with a thick dose of 90’s American Death Metal is a good idea, absolutely buy this album right now.

No?  I’m not allowed to just stop there?

Okay, journalistic trick to fill space number 1 – background details.  Putrid Offal are a French Grind/Death band who put out a series of well-regarded  EPs, splits and demos in the early 90’s but failed to achieve more than marginal underground success and vanished within a few years.  After returning in 2014 with an EP and compilation, they’ve finally put out their debut full-length, only twenty-five years since they started, consisting entirely of previously released tracks, rerecorded in 2015.

Rerecording older material is generally frowned upon and rightly so, but Putrid Offal 2015 lend these songs not only a sharp, savage modern production – a great example of how a skilled producer can give an Extreme Metal band clarity and power without stripping away any of the dirt or ugliness that they need – but the total confidence and focus of men who are twenty-five years older and know exactly what they’re doing.

What does it sound like? The press release mentions “Early-Carcass, General Surgery, Necrony, Pathologist, Dead, Cock And Ball Torture”so Carcass, then?  Like General Surgery they hybridise their Symphonies Of Sickness worship with a thick vein of Death Metal, but unlike their Swedish peers they turn to the thick, suffocating gut-punch of classic American Death Metal rather than the punk-fuelled charge of Entombed. Don’t expect to hear anything new here (even the playful touches of keyboards and chanting that appear amongst the violence on several tracks have been done before), but I haven’t heard it done this well in a long time.

So… If you think Symphonies…-era Carcass with a thick dose of 90’s American Death Metal is a good idea, absolutely buy this album.  Will that do now?

8.0/10

Putrid Offal on Facebook

 

RICHIE HR


Smash The System Part II- Barney Greenway of Napalm Death


Napalm Death, by Susanne A. Mathuis

Napalm Death, by Susanne A. Maathuis

 

 

Social issues have always been at the heart of the bands lyrics and at the core of their message, but they are not a politically motivated act. At the heart, Napalm Death is still centered round very human issues.

“I understand why people make that general point, but I think that Napalm is a humanitarian band, in the sense that our main objective is to recognise humanity and to try and promote humanity. I think humanity is really lacking in a lot of areas of the world amongst human beings. The things that, in my opinion, dehumanise people like religion, acquisition of extreme wealth, we wouldn’t do things to human beings that they do. That’s my main point. So, even though I’m the kind of person that comes from a left wing perspective, I also recognise that really what it’s about is taking the politics out. Politics as well can be a great dehumaniser; it can make people do things that they wouldn’t usually do in the pursuit of power.”

“Don’t get me wrong, what we talk about could definitely be linked into politics. I think that my thing is that, lets be honest, when you even say the word politics in a lot of conversations it instantly gets people on the back foot, its such a divisive thing. A lot of politics, don’t forget, can be just about tokenism. If the objective is to have a better world for people and more egalitarian way of life then sometimes the tokenism of politics can be completely useless to that aim.”

Nothing has changed for Apex Predator’. Spurred on by a tragedy in Bangledesh, the band get right back to the heart of the issue, tackling consumer culture and our desire for cheap, disposable goods.

“I know it was mentioned in the pre-release stuff quite heavily but just to say it again. The Rana Plaza event, the sweatshop in Bangladesh collapsed with all those people in it. I find coming up with an album title and a starting point can be tricky for me sometimes, I take several days to mull it over and then I throw it round with the other band members but this time when that event happened I just knew. I said ‘I’ve got to write about this’. The most powerful thing for me was to make an expose of not only that particular event, but the whole process of production, consumption and disposal. The big thing is cheap goods, especially in rich western countries in which the UK is one. This insistence on cheap goods, cheap clothes, cheap food, cheap gadgets, but with that cheapness somebody always pays somewhere down the line. Maybe not us monetarily but someone always pays in far more severe ways and in many respects they pay with their lives. Manufacturing standards in a lot of countries are pretty lamentable so I really wanted to bring that out and make an expose on that triple stage culture: production, consumption, and disposal. People in some parts of the world make the goods and once were done with them, they go back so not only have they suffered possibly through the manufacturing but they’ve also suffered because they’re taking the detritus and the crap, the stuff that goes into landfill and really toxifies the earth or being burnt in great piles of rubbish. China and Southeast Asia is a great dumping ground for that kind of stuff. They’re suffering at all stages and I wanted to bring that out, the way that still now in this day and age there is such a big imbalance between those that manufacture and those that consume. There really is a massive gap in the wealth and also the power.”

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Despite their size, there are still places in the world that Napalm has yet to venture. With such divisive ideas however, it’s a little unsurprising that they don’t always have the best international relations.

“I think that on the touring side of things that it would be nice to reach more places in the world. I think it’s worth mentioning we can’t play some places in the Middle East because we are a pro secular band with a very atheistic outlook. We are hypercritical of religion and in my opinion it’s absolutely right for us to do that. Unfortunately that doesn’t always go down well in some parts of the world. Because of what we say and our refusal to dilute those things then we are told we wont be allowed to play so that’s the way it is. I’m not going to change the thrust of what the band says because that would be, first of all, be selling ourselves down the river but also diminishing the very things were trying to present to people so I’m not going to do that for anybody. Those aside there are many places we still want to play. The Indian subcontinent, some places in Africa that we didn’t get to play so hopefully we will get there in the end. Apparently Napalm is one of the most requested bands in some countries round the world so it would be nice if we could spread our wings even more. I’m not naive I know that Napalm is not going to get the world spinning on its axis, but we put our ideas on the table and from an entertainment point of view we certainly try our best with our music to make a certain change to things and we could through our ideas affect change as many other bands have done and continue to do, it would be nice if our music could affect change in that way. We live in hope I suppose.”

CAITLIN SMITH


Smash The System – Barney Greenway of Napalm Death


 

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The journey from being a small Grindcore band from the West Midlands to one of the largest extreme metal bands in the UK is a long one. With over three and a half decades under their belt, Napalm Death have forged themselves a place as one of the most respected bands on the scene, both for their hard work and their values. While the band may have been through numerous line-up changes in that time the juggernaut has never slowed its charge throughout the years, and 2015 is no exception. Ghost Cult chats to Napalm Death’s vocalist Mark ‘Barney’ Greenway in the aftermath of their latest album release Apex Predator -Easy Meat (Century Media Records).

The sound may feel like they’re long way from Scum, From Enslavement to Obliteration or Utopia Banished but despite the evolution in sound, the roots of their music remain firm.

“I just think it’s been a natural gradual thing. If you take where we are now to where it was in 1987 before I was part of it or the other guys then it’s actually quite remarkable how close we are to those early albums. People say sometimes ‘how come you don’t make any albums with 20 or 30 half a minute songs’ but if you listened to our albums you could take 3 of those songs and put them into one of ours, so its not really that different its just a question of I guess the duration, although we do still have some really short ones on our albums. We don’t have a checklist before we go into albums, we just write the best that we can at the particular time. I guess because extremity is in our blood musically we’re always going to make something that’s a bit mad. It’s just very natural steps forward. If anything we’ve brought what were fringe elements in the band and have become very forthright now that that kind of very almost non metal non punk side of things, that is bands like Swans, Killing Joke, My Bloody Valentine and Slab, that’s that more ambient side of things has come into the band and with that its given us an extra dimension to the sound.”

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The progression over their sixteen album career may have been vast, but they’re not looking back or living in the past.

“I gave up counting probably about 13 albums ago to be honest. When you really think about it you think ‘Oh Bloody Hell,’ but I prefer to let things take their natural course. It is like calendars, if it wasn’t having to remember important things I have to do I wouldn’t bother with one. I just like to live life and let it take its course.”

“It’s interesting because when you go into a studio, certainly for me, I’m quite confident when I’m doing stuff with Napalm. There’s always this thing when I’m making a new album that you kind of think ‘is this stuff good enough? Are people going to like it compared to the last album? Does it have the same thrust? Is it going to leave a similar impression?’, and you do always worry about that. It takes on a life of its own though once it’s in the studio. That extra ambiance, certainly from Napalms experiences that extra spontaneity that we get in the studio. Nothing is ever 100% before you enter the studio doors, there’s always something extra that sits on top of it once you get in and record the bloody thing. I was nervous about it when we did the album but now its done I just think that it is certainly not a radical departure from anything Napalm’s ever done. That’s a good thing, it means were not loosing our extremity or the things that the band is known for, and secondly that we like to do it. So I think its just a couple of steps forward really. I couldn’t break it down into a scientific formula for you, all I can say is that my feeling about it now, although its still quite fresh in the memory obviously is that its just a couple of steps forward. Even though it’s really extreme stuff, it still has the songs, and I think the song writing is getting better and better as we go along, at least to me.”

 

 

CAITLIN SMITH


Napalm Death – Apex Predator – Easy Meat


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Remember the first time you heard From Enslavement to Obliteration (Earache), the ground-breaking second album from UK grind pioneers Napalm Death? I certainly do. It was 1988, I’m there trying to grasp on to my love of loud music…and I fucking hated it. I found it laughable, and it sent me away from Metal’s harder edges for a long time. How can you identify with a five-second song, for Christ’s sake? Up to this moment, I’d never listened to another Napalm Death album.

A staggering 27 years later fifteenth album Apex Predator – Easy Meat (Century Media) hits my inbox and boy, I feel different. The angry yet tribal rhythm of the shamanic title track gives way to the pounding machine-gun rattle of ‘Smash A Single Digit’, while the powerful skewing punk of ‘Metaphorically Screw You’ ploughs an irresistible furrow. There’s display of a flexibility in pace with the initially slower ‘Dear Slum Landlord’ retaining a hefty boot with a full production and eventually exploding with euphoric ferocity. The band’s trademark veering grind is still in evidence in the speed and violent switches of ‘Cesspits’ and ‘Bloodless Coup’; while the exercise in raw bloody velocity that is ‘Stunt Your Growth’, complete with mid-point of brutal groove and a barked Barney Greenway delivery, will rip up some serious pits live.

That the band still emits a burning intensity, railing against injustice and The Establishment, is reassuring and adds the crucial element of gravity to what is, in essence, a joyous and energising sound. The beefy punk of ‘Hierarchies’ possesses choruses of near harmonised, reflective vocals and a lightning lead break to highlight the versatility. Thankfully this is followed by the frenetic  bludgeon of blastbeats and the savage roars of the penultimate ‘One Eyed’, reverting back to the coruscating norm with a wonderful closing bounce that is the album’s highlight.

Me, the Napophobe? I bloody love the nose-breaking, careering chaos of it all, which would appal an old, lost friend and make a few more chuckle. I’m ashamed I’ve missed out on so much but thank God for mid-life crises, eh?….

 

8.5/10

Napalm Death on Facebook

 

PAUL QUINN


Obscene Extreme Festival Branches Out To Canada For 2015


 

obscene extreme canada

Long-running, successful underground metal festival Obscene Extreme Festival has announced a
North American edition for 2015, to take place in Montreal CAN, August 20-23. The festival promises the same aesthetics the original open-air fest, created in the Czech Republic in 1999, promoting the best in truly unique brutal sub-genres of metal, with a focus on Grindcore, Death Metal and Sludge bands. The OE “World Tour” concept was born two years ago and proved fruitful so the new edition stands a chance to catch on as well. OE events are happening all over the globe in 2015, including the grand-daddy event this July 8-12 in Czech Republic. Bands TBA:

 

From Obscene Extreme’s Facebook Announcement:

Obscene Extreme Festival goes Canada!!!

Alright freaks, mark your calendars for August 20-23, as the Obscene Extreme World Tour will be stopping by Montreal, Quebec for a weekend of extreme music madness!

Get your goregrind banana suit ready, put on your gasmask or your most comfortable stagediving costume and get psyched for a wide selection of underground acts. The first Canadian edition of this DIY party will bring the best of grindcore, crust, punk, death, thrash, hardcore, and everything in-between to the stage.

The Obscene Extreme Festival began in the Czech Republic in 1999, and over the past 16 years, more than 700 bands from all over the world have rocked its stage. The Obscene Extreme World Tour was born 2 years ago out of the desire to bring the carnage to extreme music fans worldwide. After Mexico, Indonesia, Australia, and Japan, we’re bringing the blasting madness of Obscene Extreme to Montreal, Canada. Get ready for a 4 day trip of fast, brutal, and destructive musical violence.

5 reasons the Obscene Extreme World Tour is going to blow your mind:

1. Truly underground.
Obscene Extreme is one of the few truly underground festivals to unite big, genre-defining bands, and small, cult bands.

2. Vegan-friendly.
Whatever you do or don’t do, believe or practice, you’re welcome at Obscene Extreme.

3. Fair ticket price.
No massive booking agent or energy drink mega-festival bullshit, Obscene Extreme is affordable for everyone.

4. No shitty rules, no shitty security.
Stage diving, stage invasions and more, all welcome. Obscene Extreme treats you like people and doesn’t stop you having fun.

5. Grindcore carnival.
Wear a gasmask, dress as a goregrind banana, Obscene Extreme is more than a festival – it’s a party!

Welcome to the Obscene Extreme Family.

For more info, check on the OEF website & see you soon!!!

Curby/Obscene, Obscene Extreme founder says :

Some of you can be surprised why we choose Canada for another American Obscene Extreme. We have been trying hard to find a good venue in the US for over a year. I was simply trying everything, asked my friends, asked the OEF friendly bands, everyone I know and almost every person mentioned Canada as the place very close to Europe.

Well, and of course when people mention Canada they always mention Montreal as the place with huge metal/punk/hardcore scene and simply a lovely city to visit! When bands used to come for rare gigs they would always go up there. It has been known to have concerts that come closest to being in Europe.

So another year, another country, another adventure!!!

I personally can’t wait to meet all the loyal American OEF fans and supporters face to face!

I want to say that we are very serious about this festival (as any other OE festival) and we’ll try to set up a solid line-up for the first volume and try to anchor here for some more crazy shows and years.

Be there or fuck off!!!

OBSCENE EXTREME AMERICA 2015
MONTREAL – Théâtre TELUS
AUGUST 20-23, 2015
CANADA

https://www.facebook.com/ObsceneExtremeAmerica


Oblivionized announce February UK tour


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Up and coming UK grind trio Oblivionized are hitting the boards to promote their upcoming new album Life Is A Struggle, Give Up which is due for release via fledgling label Secret Law Records in March of this year by taking the fight to the UK gig scene in February.

Bringing the chaos with them are French quartet Plebeian Grandstand, whose latest slab of atmospheric metal Lowgazers is out now on Throatruiner.

Catch the pair at the following venues near you.

7-8/02/15 – Lisbon (Portugal) – RCA Club (Burning Light Festival)

14/02/15 – Plymouth – Underground 

15/02/15 – Bristol – Exchange (Rad Not Sad Fest) 

16/02/15 – Canterbury – The Lady Luck Bar

17/02/15 – Leeds – Santiagos Bar

18/02/15 – Hull – O’Rileys

19/02/15 – Chester – The Compass

20/02/15 – Nottingham – Stuck On A Name Studios

21/02/15 – Brighton – The Green Door Store and Fitzherberts (two separate shows)

 

 

 

Steve Tovey


Full Of Hell – Full Of Hell And Merzbow


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If anyone reading this is still in their first few years of listening to Extreme Metal, allow me to give you a piece of advice, as unpatronisingly as I can manage – don’t believe all that nonsense it not being ruled by fashion. Next to actual mainstream music Extreme Metal may seem joyous and unrestrained, but once you’ve been around the block a few times you realise that it’s as bound up in the tidal flow of trend and counter-trend as everything else.  I mention this because blending your Metal/Hardcore with Noise, it would seem, is IN.

Earlier this year I reviewed the latest album from AEvangelist and talked about how they played their Noise and Death Metal elements simultaneously – this collaboration between Full Of Hell and Japanese Noise Royalty Masami Akita takes a similar approach for most of its eleven tracks, Merzbow’s caustic, dissonant Noise coexisting with FOH’s dirty, rumbling Grindcore. The Noise is much lower in the mix than with AEvangelist, though, adding depth and texture to the Grind rather than competing with. It works well, though doesn’t really explore any territory not already mapped out by Pig Destroyer or Narcosis, and it seems almost disrespectful to hear an artist of Akita’s influence essentially joining someone else’s band as a “Noise guy”.

The balance does shift, however – some tracks are dominated by Merzbow’s sinister, chittering Noise supported by distant feedback and distorted Grind screams, while others (album stand-out High Fells the most notable example) put both elements on a more even footing to deliver something more distinctive and representative of both artists.  It’s in these moments when the true value of a collaboration – something new forged from the qualities and strengths of both parties – becomes clear, and it’s a shame that it’s a relatively small part of the album.

I feel as though I’ve been fairly negative here, so I’d like to take a step back – Full Of Hell & Merzbow (Profound Lore) is a savagely efficient, well-structured album that achieves exactly what it sets out to do and doesn’t waste a second of its running time, and is not going to disappoint anyone who finds the idea of Grind and Noise cohabiting an interesting one. Criticising for what it isn’t is perhaps unfair, but with a name like Merzbow on the cover, it’s perhaps not too unreasonable to have hoped that more risks would be taken.

 

7.5/10

 

Full of Hell on Facebook

Merzbow on Facebook

 

RICHIE HR


Hod – Book Of The Worm


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Combining the virulent strains of death and black metal shouldn’t be too much of a problem given how many traits they share, so it’s surprising how many bands make an utter balls-up of this endeavour; often sacrificing the quirks and intricacies of both genres in favour of jacking up the brutality and hoping it will cover the cracks. Thankfully Texas quartet Hod aren’t one of them, for their sophomore album Book of the Worm (Arctic Music Group) manages to be both mercilessly extreme and gripping enough to make this a match made in heaven (hell).

Propelled along by the seemingly endless array of face-melting riffs courtesy of guitarist Carl “Lord Necron” Snyder, Hod never risk losing the listener’s attention, especially seeing as the album only lasts a mere 34 minutes. Effortless shifting between scything black metal guitar workouts like on coruscating album opener ‘When the Ghouls Feed’ to the late 80s US grindcore vibes of ‘Den of Wolves’, the atmosphere never dips below aggressive as fuck, and the frequent nods to the origins of the genres where writing actual songs was a pre-requisite will stretch a grin across the face of anyone who likes their extreme metal to be both catchy and brutal.

The avalanche of grim grandeur that is ‘Through the Gates (They Come For Me)’ is the kind of pure Satanic violence that Deicide used to pen when they were still scary, while the simplistic blasting fury of ‘Under Tyranny’s Hammer’ will delight those who wear Black Witchery shirts and attend Nuclear War Now! Festival every year. Simply put, Book of the Worm has something for everyone and is an instantly enjoyable snapshot of the extreme metal underground in both the US and beyond.

 

8.0/10

Hod on Facebook

 

JAMES CONWAY


Carcass – Surgical Remission/Surplus Steel EP


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Carcass’ return to the metal arena has been an unbridled success, with their comeback album Surgical Steel earning plaudits by the entrails-filled bucket load, including, Ghost Cult’s own Album of the Year for 2013. Released due to demand from fans not in a position to purchase the multiple formats of the Surgical Steel release (and to be fair, no matter how good it is, why would you just for a couple of tracks), and comprising of the bonus tracks of the various formats from last years’ release, Surgical Remission/Surplus Steel (Nuclear Blast) is an EP to close the first, but hopefully by no means last, chapter of the return of Liverpool’s true best band.

I have an issue with bonus tracks. Not quite as big an issue as I have with spoilers, but a problem at least the size of the riff at the end of ‘Mount of Execution’. If a band doesn’t consider a song good enough to feature on the album proper, then why release it at all? And …Remission is clearly the poorer, unwelcome black sheep of the family of Surgical Steel. Whereas Steel has bite, purpose and intensity, even in its’ more melodic moments, with the exception of the thrashing and grinding last minute of ‘Intensive Battery Brooding’, an excellent shot in the arm of a section, Remission is ponderous.

‘A Wraith In The Apparatus’ starts well enough, with a trademark Bill Steer riff and Jeff Walker’s acidic delivery, but whereas Surgical Steel was scalpel sharp, ‘Wraith…’, ‘Battery’ and ‘Zochrot’ are, by comparison, like trying to cut through flesh and bone with a blunt butter knife. Decent enough songs, and distinctively Carcass, but pedestrian, lacking the pace, drive and quality of the album, and falling short of the very high standards Death Metal’s finest have set and live up to. ‘Livestock Marketplace’ is uninspired, with Walker’s normal venom neutered and distilled into a Dave Mustaine-esque whine, before a re-working of ‘Hellion’ tribute ‘1985’ concludes matters.

There’s nothing to worry about here, though, as the quality control process happened in the studio as these were the songs not graded sufficient pedigree butchery meat for the surgeons table, but this collection of leftovers makes for an EP that is surely for collectors only

 

6.0/10

Carcass on Facebook

 

STEVE TOVEY


Napalm Death Releasing Apex Predator – Easy Meat in January, Euro/Japan Tour, 70,000 Tons of Metal


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Napalm Death will be releasing their 15th studio album titled Apex Predator – Easy Meat via Century Media on January 26, 2015. Some song titles already revealed are “Copulating Snakes”, “Dear Slum Landlord” (aired at Roadburn 2014), “What Is Past Is Prologue” and “Stunt Your Growth”.

Vocalist Mark ‘Barney’ Greenway commented on the record:

“Sometimes you have to ponder long and hard for an album title, but following the Rana Plaza disaster of last year (collapse of a textile sweatshop building in Bangladesh), it spurred me on to try and craft an exposé of slave labour in the modern world (and the surrounding conditions propping it up).

Some in power like to declare that slavery is consigned to the history books. But if you look beneath the surface it is alive and well in many different forms – it just has a different face now, and exists in ways that may seem ethically ambiguous. Using the terminology of evolution particularly interests us, so in this case the ‘Apex Predator’ represents those who bring the slavery to bear (and capitalise from it), and the ‘Easy Meat’ is of therefore those who feel they have no option but to comply.

Fittingly, the music on ‘Apex Predator – Easy Meat’ is punishing. We feel it’s more ambient, more expansive, more unsettlingly discordant than ever, and importantly, still extremely rampant at excessive speed. We hope in every respect – both musically and lyrically – this album will make your eyes burn with the harsh sonics and harsh visions of the dumping ground of globalisation.”

Napalm Death have announced European and Japan tour dates in November, as well as an appearance on the 70,000 Tons of Metal cruise in January 2015.

Nov 07: Alibi – Wroclaw (Poland)
Nov 08: Arena – Chemnitz (Germany)- + Hatebreed
Nov 09 Capitol – Hannover (Germany)- + Hatebreed
Nov 10: Schlachthof – Wiesbaden (Germany) + Hatebreed
Nov 11: L’ Usine – Genf (Switzerland) + Hatebreed
Nov 12: Rockfabrik – Ludwigsburg (Germany) + Hatebreed & War Of Ages
Nov 13: Matrix – Bochum (Germany + Hatebreed & War Of Ages
Nov 14: Amadeus + Mörser – Oldenburg (Germany) * Sold out!
Nov 15: Metal Hammer Paradise – Weissenhäuser Strand (Germany)-
Nov 21: Le Trabendo – Paris (France)
Nov 22: Speedfest – Eindhoven (The Netherlands)
Nov 26: Liquidroom – Tokyo (Japan) + Brutal Truth
Nov 27: Club Quattro – Osaka (Japan) – + Brutal Truth
Nov 28: Electric Lady Land – Nagoya (Japan) – + Brutal Truth
Nov 30: Earthdom – Tokyo (Japan) – + Brutal Truth
Jan 22-26 2015: 70,000 Tons Of Metal Cruise – Florida/Jamaica

Official Napalm Death website
Napalm Death on Facebook
Napalm Death on Twitter