Yeah man, I've been meaning to track down some Gorguts for a while now. I might have to put my quest on hold for a while now though... It's coming up to Christmas and I can't reeeeally afford to buy myself presents.

Album after Litany is my favourite Vader album.

Revelations or The Beast?
I love Vader. Amazing band. The Polish death metal version of Slayer
Really catchy and really fast. I LIKE!

Revelations man! Its mint.

Ain't listened to that one as much

I like old school death metal, but I've always been drawn to some of the more melodic stuff that those bands did...I guess that would mean Death's Individual Thought Patterns, or Carcass' Heartwork as examples...
Some of the less melodic stuff like Obituary's Cause Of Death is really killer though!

Cause of Death is one of the best metal albums ever. No doubt about it!

there is a reason why im a little uneasy about napalm and this is it posted by nic bullen on the avalanchers board when asked about early napalm its proof that they are a group of backstabbing cunts-
"This is a fairly awkward topic really for a number of reasons...
but if it is being discussed, we may as well discuss it...
I have never received any royalties from 'Scum': there are a number of reasons for this...
The group themselves (possibly with the encouragement of Dig and the people around him) deliberately downplayed my (and Justin's) involvement in Side 1 of 'Scum'...
Beyond a cursory comment on the album cover about Justin and I "playing" on Side 1 of the album, we received no recognition for the lyrics and music which we wrote for Side 1...
As a result, it seems inevitable that there would be no royalties as a result of sales...
This was compounded by (as far as I know) Mick Harris selling the publishing rights to my lyrics and music without giving me any credit for them or any monetary reimbursement...He also did this for Jim Whiteley's lyrics from Side 2 of 'Scum' (which was one of a number of reasons for Jim Whiteley ceasing to be a member of the group)...
In this sense, Dig is not to blame (although he was aware of this, and - from what I know of his character - would probably have encouraged it)...When money started to become a possibility, a lot of people in the early 'scene' became very seduced by the avenues which it opened up and fully embraced them - in this sense, Dig is not alone...
I have also been led to believe that Justin struck deals regarding money from 'Scum' at a later date during the time he was signed to Earache: however, this may just be an unfounded rumour...
As an aside, the band simultaneously continued to play the material which we wrote (which they still continue to do today, including using titles such as 'Death By Manipulation') without referring to its provenance...
In the case of Side 1 of 'Scum', I wrote all of the lyrics (with the exception of 'Polluted Minds' which was written by Justin - who also provided the vocal for that track on the album), wrote all of the music to 'Multinational Corporations', 'Sacrificed' and 'Siege of Power', and contributed to the music of 'You Suffer'...Justin and I alone wrote all of the music and lyrics to Side 1 of 'Scum'...
The group also continue to use the name, the original 'stick' logo and the ND symbol which were designed by Miles and I in 1981...
I have to set all of this in context by saying that I have never made any active steps (such as a legal challange) to claim any kind of payments...for a number of reasons:
- I didn't begin to create (whether it be music or anything else) out of a desire to be famous, to be rich or to make a 'career'. I began creating as a pre-teenager and since then my sole focus has been on expression and creativity (which - I feel - can be compromised by other concerns such as money)...As a result (of some semi-twisted logic) it ultimately doesn't matter to me if I receive payments or not: if I am to be aggrieved, it would be by people's actions and attitudes rather than by any issue related to money...
- As a person, I am not driven by money. I have always taken the attitude that life is for living and that I will get by one way or the other. In this past, this has led me to some lows, but that is to be accepted as part of that attitude...In the present, I earn a very satisfactory living working on something which I enjoy, and all of my creativity can exist without what I see as a compromise: it's a choice I made...Conversely, I have no time for musicians who bemoan their lack of finances because they made the choice to attempt to make a living through playing music - you make your choices, you reap the consequences...
- I also feel that an obsession with money tends to only impact negatively on you yourself, so it wouldn't have been useful to me to generate any kind of bitterness over that...
Regarding Scorn - as far as I am aware, the revenue generated by Scorn in terms of royalties at the time of my departure was still being used to recoup 'Advances' (in line with the contracts). I do not know the situation since that time, but I have never received any payments which may have been generated from income made after full recoupment...
Once again, the context is that I have never made any active efforts to obtian any payments...and - in the interest of balance - I was given a substantial 'Advance' upon signing a 3 album contract with earache in early 1995: I did not return any of this 'Advance' nor provide any of the 3 albums I had been contracted for, so I think Earache have every right to recoup this money from royalties from previous Scorn releases...
On a similar note to that raised in relation to Napalm Death, my involvement and role in the creation of the music and lyrics of Scorn ion the first 3 albums has been somewhat downplayed after the fact (despite the shared songwriting credits): this culminated (for me) in the release of the second Scorn Peel Session on Invisble Records which was sold to Invisible without my knowledge, from which I received no payment, and which does not give due credit for the provenance of the music and lyrics...
In the interests of balance, that Dig is not an 'artist' - he is a businessman...and his actions are entirely in line with the structure which he works within (utilising a capitalist model to exploit product). He has also never (to my knowledge) stated that he was an 'ethical' businessman...which would also apply to musicians related to this story...
A case in point would be the recent 'Scum' DVD. Earache wished to make a very lucrative object with which to 'celebrate' the anniversary of the album, and - in their urge to make as much money as possible - gave me an insulting option in relation to being involved: I could do it for nothing "as this project is all about the history and getting that down, not about the money" (I paraphrase). I was aware that I didn't really want to give up my time in order to make Earache more money from my creativity, so I told them I would only do it for a fee: they suggested £100 which was finally upped to about £200 which felt rather insulting becasue of the sentiment behind it. After discussion, Justin and I agreed that we would not take partr in the project at which point my wife jokingly suggested that I inform Earache that I would be in the DVD on condition that they paid me at the same rate per hour as the Consultation fee for my work (which would be multiplied by the number of hours in the shooting), which I did: they would not agree to that so I informed them that I did not wish to be involved...
It's a relatively good (and representational) example of how the overall 'mindset' at Earache operates and also how this 'mindset' affects the material they produce: in this case, their desire to make profit outweighed the potential investment necessary to deliver a quality piece of work, which resulted in a DVD which was critiqued in the press and on forums across the Internet as being threadbare, flimsy and lacking in depth or insight...
After all that, I have to say that I don't really like raking over this kind of thing: these events occurred in the past (some time ago), and I effectively viewed Napalm Death as a completely different band after I left the group. I was much more interested in my studies at the time because they seemed to provide a far more interesting avenue to explore....
I have also structured the way I live so that I no longer have any contact with any of the aforementioned people (or people similar to them) which ensures that their lives do not connect with mine, which makes me very happy if I think about it...
On a much more upbeat note, the 'Home of Metal' project is the Capsule grannies project: the Capsule girls love their Metal (they've been putting on concerts since their teens in the early 90's) and this project is definitely a 'labour of love' at heart...For them, any relevant artefact will add to the usefulness of the resource...It should provide an interesting record and resource in relation to both Pop Culture and Social History... "

poor guy:(

I dont see why everyone rates napalm around that period they have said how the third album seemed shit in production as it didnt have the rawness or dirtyness of the first two as scott burns had really fucked up production. They sounded pretty much like most flordia bands during that period of time. In my opinion it was russ russell who saved napalm as he got them back to that european style of production.

Whats wrong with having the Tampa sound?