Guests 21 and over can join us in the Kerns Music Lounge (adjacent to our main lobby) 2 hours prior to scheduled door time for food, drinks and priority entry into the showroom.
The Locust traverse, constantly cross, and redefine the line between total chaos and perfect order. Genre-defying and boundary-blurring/destroying, The Locust are proven to be masters at their craft. What that craft is, however, still proves to be difficult to define. Regardless, their lengthy discography speaks for itself.
Emerging from its incubation in 1995, The Locust released its first record: a split 10″ EP with Man Is The Bastard on King of the Monsters, following that up with a split 5″ picture disc with Jenny Piccolo on Three One G and then its debut self-titled 7″ on Gold Standard Laboratories. Three years after the release of their 10″ debut, GSL released The Locust’s first full-length, a self-titled, 16-minute-long sonic cataclysm. In 2000, a split 7″ with Arab on Radar on GSL was released.
Shortly after this split, The Locust cemented its difficult reputation by putting out a double 12″ of electro/drum ‘n’ bass remixes of the song “Well I’ll be a Monkey’s Uncle,” on GSL, with folks like Kid 606, I am Spoonbender and Sinking Body turning the song’s crazy noise bursts into even crazier electronic splatter paintings. The band’s final recording as a five-piece came in 2001 with “Flight of the Wounded Locust” on GSL – a 5 track EP that was re-released in 2003 on Erika Records.
Showcased for the first time as a four-piece on a split 7″ with Tokyo’s Melt Banana (GSL), Justin Pearson, Joseph Karam, Bobby Bray and Gabe Serbian offered a sound far removed from their grindcore-leaning past— brutally ultra-violent and drenched in sci-fi-noise, gruesome insectoid keyboards and herky jerky scream/ sing vocals — described by one journalist as “a car-wreck with vocals.”
After this initial taste as a four-piece, The Locust released Plague Soundscapes on Anti in June 2003. This album solidified the markedly different sonic terrorism The Locust had began to explore and would go on to cement as their own unique creation – a glorious cacophony of synths and violent yelps arranged in the most strict and uniform sense. Many consider this album essential to the reshaping and expanding of what “hardcore” music could be, decades after its release.
Safety Second, Body Last soon followed in 2005. As chaotic as Plague Soundscapes, but with menacing, dripping synths during interludes for an ominous piece of sonic obliteration. New Erections, the band’s third full length album, came out two years later in March 2007, perfected what was teased on Safety Second, Body Last. This album fine-tuned everything The Locust had done so well before, mastering sonic structures so complex, vast and intricate it takes more than a couple of listens to take it all in.
After lengthy touring following the release of New Erections, The Locust went on hiatus. Another archive recording was released in 2010: this time, a legendary Peel Session recorded nine years prior. Two years on, in 2012, The Locust once again emerged from its cocoon to release a remastered and remixed compilation of previous work, called Molecular Genetics From The Gold Standard Labs. In 2013, the band performed at FYF Fest and Fun Fun Fun Fest to frenzied crowds.
In the time that the band has existed, Bray, Karam, Pearson and Serbian have taken part in seemingly countless other impressive bands and projects, including Dead Cross, Le Butcherettes, Some Girls, Le Shok, Holy Molar, Head Wound City, INUS, Zu, Retox, Planet B, and Skinwalker.
Art reflects life. Extreme times demand extreme responses. Silence sucks. Noise is always the answer. And yes, NAPALM DEATH continue to be one of the few bands on this planet that adhere to all these principles and more. For the last three decades, their name as been synonymous with heavy music taken to the extreme – music that confronts, confounds and eviscerates in equal measure.
NAPALM DEATH’s enduring impact on the world of sonic savagery began in earnest in the late 80s, when the band’s first two albums – 1987’s Scum and its 1988 follow-up From Enslavement To Obliteration – refined and redefined the notion of brutality and velocity in the worlds of punk, hardcore and metal. Endorsed by legendary and much-missed DJ John Peel, the Brummie grindcore pioneers were such an exhilarating and yet alien dose of jolting adrenaline that even the mainstream media were forced to prick up their ears and take note. Throw in the fact that NAPALM DEATH were – and still are – driven by a ferocious intelligence and a genuine desire to make the world a better place through the promotion of rational thought and respect for all fellow humans, they stood apart from the often nihilistic and intellectually bankrupt underground metal scene and have re-mained unique and unerring ever since. While grind purists may point to those earliest records as evidence of the band’s signifi-cance, it is the tireless and terrorising exploits of the now classic line-up of vocalist Mark ‘Barney’ Greenway, bassist Shane Embury, guitarist Mitch Harris and drummer Danny Herrera that have cemented NAPALM DEATH’s status as extreme music leg-ends. Over the last 20 years, the band have released a relentless slew of groundbreaking and fearless albums and other releases that have consistently punched holes in the heavy music world’s perimeter fence, espousing an indestructible credo of creativity and lyrical fire along the way.
However, unlike the vast majority of so-called veteran bands, NAPALM DEATH seem to be gaining momentum and focus as their story continues into its fourth decade. Albums like Smear Campaign (2006), Time Waits For No Slave (2009) and Utilitarian (2012) have proved beyond doubt that while their creators remain firmly at the forefront of the grindcore scene, they are also increasingly capable of expanding the boundaries of their own sound while exhibiting an undying passion for incorporating the most unimaginably intense and perverse fresh elements into their otherwise remorselessly fast and furious blueprint. And now, with the release of their fifteenth studio album, Apex Predator – Easy Meat, the undisputed Gods of Grind are poised to shatter preconceptions and redefine what it means to be truly extreme all over again.
“I guess the word to use is thrusting! It really goes for the throat!” says Barney. “People probably look at NAPALM and think ‘Fuck me, is that band still around?’ There’s a natural tendency as bands go on, that people on the outside say ‘Oh, they’re still making albums but they must be a bit humdrum now…’ and you know what? That’s something that I hope no one ever says about us. I find I don’t want something more refined or less extreme, I want something more extreme. Sometimes we’ll be in the studio and someone will say ‘Isn’t that a bit noisy?’ and I’ll say ‘Fucking hell, what do you mean? Turn it up! Let’s go and throw a microphone through the speaker!’ So that’s our attitude. The age of the band should never come into it. Just because you’re older, it doesn’t mean you lose the urge to make something challenging… or even annoying! Some of the sounds that NAPALM use are deliberately designed to annoy people, no question!”
A sprawling and frequently bewildering onslaught of fervently left-field and fiendishly inventive extremity, Apex Predator – Easy Meat takes everything that NAPALM DEATH have learned, absorbed and harnessed over the last 30 years and twists the resultant maelstrom into an unfathomable, tooth-shattering squall of ferocity. There is plenty of the hyperspeed grind that fans have long become accustomed to, but the more artful and dissonant elements that have long lurked within the band’s sound have been brought violently the fore like never before. As influenced by Swans, Killing Joke and Throbbing Gristle as they are by Siege, Celtic Frost and Discharge, these new songs add a wild array of new textures and tones to NAPALM DEATH’s sonic realm – all mixed to abominable perfection by long-time studio comrade Russ Russell - as slow-motion psychedelic sludge, barbaric post-industrial skree and flat-out quasi-electronic antagonism collide around the band’s trademark barrage of warped riffing and throat-flaying roars. “The title track, it’s like Public Image Limited times ten!” says Barney. “It’s really extreme. There’s a lot of those influences on the album – Public Image, Killing Joke, Swans… all that kind of stuff. We were starting to do it on the last album, mixing it into the fast stuff, but this time we’ve mixed it in even more. Some of the chord stuff on there is pretty fucking mad. It was intentional. Sonically, we wanted it to be even more extreme. It’s quite simple. We’re not fucking around! Therein comes the paradox. You’ve got the really nasty, horrible, violent sound and then the really humane lyrics. I love that paradox.” Once again proclaiming their refusal to stand by while the world plummets rapidly down the shit-chute, the new NAPALM DEATH album is plainly one of the most lyrically incisive and enriching records of the band’s career to date. Inspired by real-world events and the never-ending cycle of predatory capitalism that causes so much poverty, misery and death around the globe, songs like Dear Slum Landlord…, Metaphorically Screw You and Hierarchies are as uncompromising and vital on a conceptual level as they are in musical terms. As ever, Barney’s humanistic worldview blazes brightly throughout – a positive voice in a wilderness of apathy and hate.
“I see the world as a see-saw,” he explains. “There are countries in the world that relentlessly consume and then there are other countries that are the fucking dumping ground, and the common perception is that they have less value. I don’t think that way but it’s just a natural way to think for a lot of people. The event that sparked it, and even this passed a lot of people by, was the building that collapsed in Bangladesh last year, at textile manufacturers. It was the dodgiest situation ever. The building was already unsafe, there were huge cracks in the wall and they’d built extra storage on top, extra workshops because the greedy bosses wanted to increase their output, and then the whole building collapses. These clothing companies, in the main, it was crocodile tears and nothing’s happened and to me that’s fucking shameful. People think that slavery is a thing of the past, but there are slave conditions all over the world, where people are working under threat of death. Slavery is far from gone. I know that it’s something I can’t change on my own, although I try to make the correct choices in my life, but I felt I wanted to raise the point a little bit and hopefully open people’s eyes.”
Adorned with some of the most gut-wrenching and distinctive artwork to grace an album in decades, Apex Predator – Easy Meat may well be NAPALM DEATH’s definitive statement, both on the state of the world and the limitless possibilities of extreme music. Right now, there is no other band with the brains and balls to make music this original, intelligent or downright terrifying. It’s 2014, the world is fucked and we need NAPALM DEATH more than ever.
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