Municipal Waste, Napalm Death
2001 15th Avenue South
This event is 18 and over
Hailing from Richmond, Virginia, Municipal Waste are the reigning kings of the New Wave of Crossover. Municipal Waste deliver blazing fast, raw thrash-core in the tradition of DRI, Suicidal Tendencies, "Animosity"-era Corrosion Of Conformity, Nuclear Assault and Attitude Adjustment. All barely in their 20's, the members of Municipal Waste inject youthful energy and humor into a classic genre they were too young to catch the first time around.
With a self-titled EP on Amendment Records, an LP entitled "Waste 'Em All" on Six Weeks Records, and several splits and comps under their belts, Municipal Waste have quickly established themselves as the leaders of a fast-growing scene of bands resurrecting the spirit of the mid-80's Crossover scene.
Fast, furious, and funny, each of Municipal Waste's super-short songs is a memorable anthem to post-apocalyptic mutants, beer, thrash music, or all of the above. The band's dedication is deadly serious yet they are not afraid to bring the fun back into hardcore. Bashing out songs with such titles as "Thrashing's My Business And Business Is Good", "Thrash? Don't Mind If I Do", and "Drunk As Shit", (as well as a split EP whose songs were all based on Kurt Russell films), Muncipal Waste have earned themselves the tag of "party thrash".
Rumors of Municipal Waste's awesome live shows have spread from coast to coast and across the world; the band departs on their first European tour this month. Upon their return to the states, Municipal Waste will begin work on their Earache debut.
27 years of grindcore ultra-violence, 27 years of being one of the hardest working, hardest touring bands on this miserable planet, NAPALM DEATH's conviction, energy and belief in spontaneoust, outspoken yet extreme music is far from being watered down. "Time Waits For No Slave", the band's 13th studio album (excluding the cover album "Leaders Not Followers Pt.2") marks no exception – as long as this is a world gone wrong, NAPALM DEATH will be utilizing their artistic arsenal to attack those in charge, no matter if their fanaticism stems from a political, religious or simply greedy motivation.
On "Time Waits For No Slave" the legendary fathers of grindcore explore fundamental aspects of our so-called modern life and point out that ideas of servitude are still existent in the allegedly tolerant, liberal society we live in. Despite the old cliché that "we are living in the 21st century" for one thing, women are still sneered at, treated like second-class citizens and viewed in some quarters as baby machines rather than beings in their own right. Giving up our own ideals, wishes and desires to fit into the all too tight conventions still prevalent today might be a very general sounding subject, but the question is: if our freedom is true to the meaning of the word, this is something that affects us all!
Once again, NAPALM DEATH's concerns are realised through intense, devastatingly brutal songs that venture into groovier, neckbreaking mid-tempo passages to allow the listener to take a breath before vicious blast beats pummel you out of existence. The new material was arranged in intensive rehearsals in a trusty old lock-up room at Robannas rehearsal studio in Birmingham. Soon after, the band roared into the studio. The new effort was engineered and recorded by Russ Russell and produced by Russ Russell and Napalm Death at Foel Studios, Llanfair Caereinon, Wales. Further recording, overall production and album mixing / mastering was finally hammered out at Parlour Studios, Kettering, Northamptonshire, England. A special treat is included on the limited edition of the album as the bonus track "Omnipresent Knife In Your Back" sees bassist Embury also handling the guitars, Mitch Harris switching from guitars to drums and drummer Danny Herrera on bass.
While NAPALM DEATH is a prominent example on how to put words into action and has taken part in several benefit-based activities in the past, vocalist Mark "Barney" Greenway is also engaged in fighting for musicians' rights through the Musician's Union (a UK-based trade union) and strives for fairness for music followers via the same organisation. Renowned for their ceaseless touring activities and stellar live performances, following the album's release NAPALM DEATH will be promoting "Time Waits For No Slave" live worldwide - remaining at the helm of today's extreme music scene and humbly yet ferociously solidifying their legendary status once again!
San Francisco's Exhumed plays gore-obsessed death metal with a tongue-in-cheek flair and an overall musical approach that are often reminiscent of Carcass, a band whom they have frequently acknowledged as a primary influence. They have endured constant lineup changes to become, if not a highly original act, at least one of the better representatives of their doomed-to-obscurity subgenre. The band formed in 1991 with a lineup consisting of Matt Harvey (guitar, vocals), Col Jones (drums), Derrel Houdashelt (guitar), Jake Giardina (vocals), and Ben Marrs (bass). They made their first recordings under this formation, including the Excreting Innards 7" for Afterworld Records. Giardina and Marrs left the band within the next few years, with Matt Widener (bass) and Ross Sewage (vocals) brought in as replacements. After recording the Horrific Expulsion of Gore demo (1994), Widener left and Sewage took over bass duties. This lineup eventually recorded a split CD with the Ohio band Hemdale, In the Name of Gore, which came out on Visceral Productions in 1995 and featured an absolutely revolting album cover. Soon after, Houldashelt left and was eventually replaced by Mike Beams. With this lineup intact, they signed to Relapse Records and finally released their first official full-length, Gore Metal, in 1998, with guitarist James Murphy (Death, Obituary) at the production helm. Sewage left the band shortly after this record, leaving the trio of Harvey, Beams, and Jones to record the follow-up, Slaughtercult. The album was released on Relapse in 2000 and was enthusiastically received among the death metal scene
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