Choosing Death by Albert Mudrian

Author:Albert Mudrian
Language: eng
Format: epub
Publisher: Feral House
Published: 2010-07-21T04:00:00+00:00

As a result of his triumphant taming of both Napalm Death and Carcass, Richardson became Earache’s unofficial go-to producer for much of the label’s British roster.

“It was really kinda modest at the beginning, because I had done a few records for Earache, and I remember this band Gorefest from Holland contacted me, and it was like, ‘Wow, people from other countries!’” says Richardson. “I think I got a lot of work from people seeing my name on the back of the sleeves. And I think Roadrunner just heard some stuff—obviously they heard the Earache stuff—and thought, ‘That’s pretty good,’ because there weren’t too many people doing it, there wasn’t a whole bunch of choices, really.”

The strength of Richardson’s recording actually helped Carcass land the second guitarist they had previously coveted. After initially declining the invitation in 1988, Carnage guitarist Michael Amott was now ready to accept the position based on Carcass’ obvious improvements.

“When I heard the Symphonies of Sickness album, I was just like, ‘Oh, no, what have I done?’” Amott says. “So I learned from my mistake, and when I got asked a second time I was just like, ‘Okay, I’m leaving Carnage and I’m gonna go and do this.’ This was in January of 1990, and I went over to England in April.”

Amott’s decision effectively ended Carnage, but it allowed Carnage drummer Fred Estby to resurrect his previous band, Dismember, which featured the majority of Carnage’s final lineup.

While other death metal bands continued to restructure, Mick Harris was busy searching for his own death metal talent to augment his once again depleted Napalm Death lineup. First, he replaced departed vocalist Lee Dorrian with Mark “Barney” Greenway, who had often served as a Napalm Death roadie—or “humped”—for the band’s various UK shows.

“I say humping, but it was basically a case of pretending to carry some cabinets around and getting drunk and just fucking falling around, because I was pretty much a drunken crusty back then,” admits Greenway, who was bestowed the Barney nickname for his drunken antics, during which he bore resemblance to the prehistoric “Flintstones” cartoon character. “I was sort of a semi-dirty kind of character.”

Like Harris, Greenway’s roots were in the country’s anarcho punk movement. Despite his heritage, the vocalist was fronting Benediction, a Birmingham-based death metal act, when the drummer asked Greenway to enlist with Napalm in September of 1989.

“Benediction was a time, to be really brutally frank, when I’d actually lost a bit of my passion for hardcore,” Greenway says. “I just wanted to do pure death metal at the time, because the whole hardcore/grindcore scene was going through a real weird time, and there were a lot of people stabbing other people in the back because a couple of bands had got a bit of exposure, and it was like there was the sellout fingers a-pointing about Napalm. And I was just really disgusted that people could be like that, people that were friends of the bands and knew them really well and just knew that that was not the case at all.

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