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Class 6(66)
Napalm Death: Scum
10/08/09 || Khlysty
Released: 1987
Introduction
I find myself in a very awkward position as I sit here, trying to write a few things about how “Scum” is a record that HAS to be part of the Class 6(66) section of GD. I mean, fuck, I’m talking about a record that’s supposed to be one of the most important documents in the history of extreme music, a virtual landmark, the first bona fide “grindcore” record ever. A record that launched one of the most virulent sub-genres of metal AND the careers of Justin Broadrick, Lee Dorrian, Bill Steer, Mick Harris and Nik Bullen (and that comes only from “Scum”…). A record that produced ripples in the pond of music that influenced a gazillion of styles, from the then-nascent death metal to free jazz. A record that’s been analyzed, dissected and lauded –and, also, reviled and laughed upon- by a legion of critics, musicians and fans alike. So, what the fuck is really there for me to talk about, right? Well, wrong. See, everybody knows how “Scum” was recorded in two, almost eight-months-apart sessions by two totally different outfits. But, one thing that generally goes unnoticed is how much DIFFERENTLY these two bands approach their subject matter; everybody thinks that “Scum” is a 30-and-change-minutes blastfest with incomprehensible lyrics growled or screamed, which is not exactly what actually happens. So, let’s see what “Scum” really is, shall we?
Songwriting
8,5. This is where the whole thing lies. This is where the Broadrick-Bullen crew REALLY differs from the Dorrian-Steer-Whitely one. See, while there’s a lot of blasting and screaming during both of the band’s periods, the first twelve songs (“side a’” of “Scum”) come from an anarcho-crust punk origin and it shows: the songs are a little bit longer, the arrangements more deliberate, the feel more Crass than Motörhead-on-speed. And, while the crazed, warp-speed sections come, rampage and go as frequently as possible, I have a feeling that the three guys who recorded those songs back in 1986 wanted to push the punk velocity to its (il)logical limit, just to see what would happen. On the other hand, the outfit that recorded “side b’”, seems to me that had a clearer and more “metallic”, more “grindcore” mentality when putting the next 16 songs into tape. That’s why the speed is much higher, the sound deeper, the feeling more claustrophobic, the blasting more prominent, the song timeframes tighter. Maybe it’s just my idea, but I thing that the grind-defining part of “Scum” lies on its second side, while “side a’” is punkier and uglier… But I may be mistaken: “You Suffer” was recorded by the trio version of the band.
Production
7. The first twelve songs were supposedly recorded for the obscene amount of £50. It shows. The next 16 sound a little bit better, but if one expects things like clarity, separation and such, one will be sorely fucking disappointed. The surprising thing is that the murky production actually enhances the atmosphere of anger and desperation these 28 bursts of noise and screaming exude. So, it’s not bad at all, for what it is.
Guitars
8. Broadrick’s sound and style owes everything to punk. Even barely tuned, his guitar is a beast all of its own; whether slashing away, or just grinding, Broadrick has a great presence and a surprisingly effective style. Bill Steer, on the other hand, concentrates mainly on speed, low-end and distortion, giving the band more heft and, in effect, eliminating all punky elements from the guitar sound, leading the band towards its definitive grindcore style. To wrap things up, Broadrick introduces the ideas of grindcore and Steer turns them into a discernible style.
Vocals
9. Bullen utilizes a raspy, hatred-induced growl that fits perfectly with the “a’ side” style and “ambiance”. Dorrian’s commanding, almost-but-not-exactly-death-metal roar clearly conquers “b’ side” of “Scum”. Of course, if one’s looking for the lyrics, one better grab the lyric sheet. Everything here sounds com-fucking-pletely like big dogs barking (as a sidenote, Harris’ high-pitched screams on “b’ side” add a little bit more to the general dementia and show the band’s impeccable taste).
Bass
8. The production values do not exactly help the listener to fully appreciate the bass in this here record. Of course, it’s there and it helps to a) either anchor things up a little bit, or b) make everything more brutal and uncontrollable. Nice…
Drums
10. Supposedly Mick Harris invented the blastbeat. Whether that’s true or not, I don’t give a flying fuck; he’s a very good drummer and perfectly fitted for the insanity contained within “Scum”. Also, he’s the only constant member of the band during the two sessions, so kudos for his tenacity.
Lyrics
8. “You Suffer. But, why?”. 1,316 seconds later, everything’s said and done…
Cover art
6. A ghastly creation by Jeff Walker. Is it punk, post-modern or just shite? Your decision…
Logo
7. Although nothing to really talk about, it’s stayed almost the same throughout the band’s long and industrious career. Also, it’s readable, so added points here.
Booklet
3. Does what booklets do. I don’t care…
Overall and ending rant
I hope that I’ve been able to clarify why I think that one should really pay attention to “Scum”. As iconic and epochal as everyone seems to consider it, the fact remains in my mind that Napalm Death’s two different aspects contained within its grooves are more important than anyone seems to understand. Also, it’s one of the few recorded documents where a band evolves right in front of the listener’s eyes (ehm, ears…). But, when one comes down to it, “Scum” is a fun listen: its brevity, its velocity, its grinding (haha, yeah, it’s a pun, now fuck off…) power, are staying merits. And, although by today’s standards it sounds pretty tame, I think that it’s one of the best introductory crash-courses into metal’s most extreme aspects. Hooray for the Brummies!!!
- Information
- Released: 1987
- Label: Earache
- Website: www.napalmdeath.org
- Band
- Mick Harris: drums, vocals
- Nik Bullen: vocals, bass (a’ side)
- Justin Broadrick: guitar (a’ side)
- Lee Dorrian: vocals (b’ side)
- Bill Steer: guitar (b’ side)
- Jim Whitely: bass (b’ side)
- Tracklist
- Side A
- 01. Multinational Corporations
- 02. Instinct of Survival
- 03. The Kill
- 04. Scum
- 05. Caught… In a Dream
- 06. Polluted Minds
- 07. Sacrificed
- 08. Siege of Power
- 09. Control
- 10. Born on your Knees
- 11. Human Garbage
- 12. You Suffer
- Side B
- 13. Life?
- 14. Prison Without Walls
- 15. Point of No Return
- 16. Negative Approach
- 17. Success?
- 18. Deceiver
- 19. C.S.
- 20. Parasites
- 21. Pseudo Youth
- 22. Divine Death
- 23. As the Machine Rolls On
- 24. Common Enemy
- 25. Moral Crusade
- 26. Stigmatized
- 27. M.A.D.
- 28. Dragnet
