Moi j'aime bien, d'abord parce que j'aime bien l'indus à la base et qu'on sent bien que le sujet du titre, d'une brûlante actualité, tient à coeur. Mais c'est vrai que c'est surprenant par rapport à ce qu'ils font d'habitude.
Pour "Amoral" je suis d'accord avec ton point de vue Everflow. Pour moi je risque est payant dans ce cas.
ChaNoir a écrit :Merde on n´est pas venus pour voir Chantal Goya en perfecto!
Metalrunner a écrit :Je sais je suis un thrasheur romantique et fragile
Continuing the fearless exploration of their legendary sound’s outer limits, UK grindcore pioneers, Napalm Death, announce the release of a new mini-album, entitled Resentment Is Always Seismic - A Final Throw Of Throes, out February 11 via Century Media Records.
Resentment Is Always Seismic - A Final Throw Of Throes is a partner recording to Napalm Death’s latest, much acclaimed Throes Of Joy In The Jaws Of Defeatism album from 2020, concluding matters through vital, tumultuous grindcore and shockwave ambiance.
While currently on the road across North America, Napalm Death frontman Mark “Barney” Greenway checked in with the following comment about the upcoming release: “You can certainly consider “Resentment Is Always...” as an extension of - or partner recording to - the “Throes…” album. We had long since wanted to put a mini-album out – in the spirit of the old days – and found we had enough quality tracks even after all the “Throes...” bonus tracks to do that. Hopefully this mini holds some nice twists in its own right for people, and certainly covering “People Pie” by Slab! made us really stretch ourselves, which feels great artistically. In the end, resentment is certainly seismic – it can trigger the complete erosion of humanity in many situations. That was the point that I really wanted to hammer home overall.”
“Narcissus”, the furious opening track of the release, is being launched today as small foretaste of the mini-album. Check it out at full volume below.
““Narcissus” just seemed to fit the bill as one of those rampaging tracks that we always seem to gravitate towards as an album opener. The low-slung concrete mixer bassline at the start really ushers it in nicely. It was written at a time when the ‘alt-right’ was parading itself around, so lyrically I like to think it exposes the vanity and personality cult of that whole thing,” added Greenway.
I'm the lost one chasing colors to the sun
Colors bleed but never fade