Throes of Joy in the Jaws of Defeatism

It might be the longest gap between records in their career, but Napalm Death give off the vibe of unstoppability now more than ever before. Previous album, 2015's Apex Predator - Easy Meat, was almost the same amount of 'fucking awesome' as this new one, and definitely confirmed ND's indomitable attitude, but the shitstorm that is 2020 has no doubt had a part in creating what must be the Brits' most experimental offering yet. Experimental, yes, but still surprisingly consistent. The singles released before the album launch would've been incredibly brave choices for any other band, but Napalm seem to have garnered so much respect over the last 30 years that they're pretty much immune to such mortal quandaries. The experimental moments on the new LP, Throes Of Joy In The Jaws Of Defeatism, are merely the quartet letting their influences shine through.

Initial opinions would be that this is more of the same. The first single, "Backlash Just Because", annihilating all in its path with an equal blend of upbeat punkish grindcore and mid-tempo death metal groove which has become ND's modus operandi over the last decade. Not that this would be a complaint; Embury and co. smash this kind of shit out with such professionalism and controlled chaos, and it's gold every time. Just check out the huge riff that slams down at the 2:04 mark. Combined with Barney's beautiful 'UuuuuaaaEEEGH!!', it's indicative of the power of which this band is capable. The first four tracks are classic, brutal, 21st century Napalm Death showing only hints of musical exploration; mainly through the 5/4 rhythms of "Contagion" or the batshit rhythm in the chorus of "Fuck The Factoid".

It's on track 5, "Joie De Ne Pas Vivre", where the listener's brows perk up and their eyes widen. This eerie, industrial clanger - with its haunting atmosphere, absence of melody and Barney's terrifically sneery performance - bears a striking resemblance to Killing Joke's "Hosannas From The Basements Of Hell". Speaking of Killing Joke, it's no secret that Barney is a fan - thus we end up with a track like "Amoral", which might as well have been penned by Jaz Coleman himself. "Invigorating Clutch", too, exhibits mid-paced, industrial traits - albeit with a more hammering approach. However, those songs pale in comparison to the direction taken on the album closer "A Bellyful Of Salt And Spleen". Following on in mood from the title-track of Apex Predator - Easy Meat, I can only describe it as a nigh-on-guitar-less, terrifyingly noisy doom-monger which is simultaneously haunting and shocking, with a video to match. These tracks all stray from the Napalm Death formula, and yet suit them down to the ground. This is remarkable stuff which, once again, pushes the envelope of grindcore.

Barney is utterly on fire throughout TOJITJOD (my new favourite album acronym). His normal brutish bark is sounding more full than ever, but he's taking more risks and achieving more timbres than on any previous release. I hope I sound this commanding when I'm 51 years old. The production quality is superb, with Danny's drums sounding so much more precise on the blasts than on the previous few LPs, and Mitch's guitar retaining that enormously thick tone. The lyrics are more of Greenway's vague political skewerings, shrouded in metaphor and extensive vocabulary, yet bluntly obvious as to which side of the fence they sit. It may have only been over a month, but I probably won't have any issue declaring this as ND's best album ever. Let's face it, these guys could give synthwave a good go and we'd all lap it up, because it would undoubtedly be amazing. No longer simply a phenomenal band, Napalm Death are a national treasure, and Throes Of Joy In The Jaws Of Defeatism is the pinnacle of their achievements. So far.