I’ve always hated the term supergroup, it sends icy tendrils into my bowels turning me into a chocolate poo machine, causing my intestines to spasm and rendering my jeans into a waterslide of excrement. I mean of course it doesn’t, but never let the truth get in the way of a good story. But still, the very notion of a supergroup always whiffs of indulgence, corpulence, and self-satisfaction and as a result the subsequent creations of said construct have always left me cold. Now I am not sure you can necessarily apply the term ‘supergroup’ to Shane Embury (Napalm Death) and Kevin Sharp’s (Brutal Truth) Venomous Concept, but it has featured the great and the good of the grindcore and extreme metal fraternity since their inception way back in the mists of time (2004). It’s a peculiar musical endeavour really, seeing as Embury also plies his trade in Brujeria (amongst a plethora of other bands) that don’t seem to stray too far from his day job, blending elements of death metal, grindcore and hardcore. Taking an auditory preamble through VC’s back catalogue, they do take on a more hardcore punk hue than Embuy’s other musical endeavours, but when you conflate it with Sharp’s guttural barks and growls, it’s still seems to represent somewhat of a busman’s holiday.
Still, Venomous Concept are an intriguing proposition, comprising ballsy, low fi slabs of punk infested bile that sets the pulse racing and the pit swinging. This new album also enables Embury to keep his title and belts as metals’ busiest man. Now, if I were to step back from the first three of four listens of the incongruously titled (strike that, the title is probably the most apt thing you could imagine) ‘The Good Ship Lollipop’, it’s about as far removed from what you could ever have expected, given the terror that this band and its subsequent output to date has been marinated in. Its so unexpected that it suggests that this is a very deliberate and calculated conceit, given that the album was birthed during the global pandemic and the band have admitted in the accompanying press note nonsense that they sought to accomplish a volte face when it came to their new material. Not only does is volte face, it backflips through a burning hoop of fire, somersaults through a blazing tar pit before pirouetting on the snout of an alligator whilst eating a slice of birthday cake.
Now, that’s not to say that there aren’t glimpses here and there of their past selves, as the album has a judicious sprinkling of three-minute punk metal pockets of mayhem. ‘So Sick’ could be Poison Idea and Sick Of It All jamming and also features a beautiful little guitar solo from Napalm shredder John Cooke who is also joined on here by ex-Cancer drummer Carl Stokes. But whilst there are remnants of the band’s previous musical direction, for the most part, this is a delicate, indie flavoured rock album that is so initially jarring, it’ll send your coccyx into spasm. But, as the album progresses, not only will you find yourself tapping your foot, but a smile will birth itself on your face wondering at the sheer audacity of what the band have pulled off. It’s Neds Atomic Dustbin, Ride and New Model Army playing Lawnmower Deth covers. It’s all played with a punk rock spirit and joie de vivre. It’s the sun peeking out on a dirty day, it’s finding the bubble-gum as the bottom of a screwball, it’s getting an unexpected finger up the bum or the last slice of cake. It’s so unexpected but really, really, really, good.
IF (and it’s a big IF), you can go into this new album with an open mind, and you have a predilection for early 90’s indie rock/punk, you’re going to mine this album for all its goodness. If you’re coming to this party with your Brutal Truth/Napalm long sleeve t-shirt on expecting what has gone before, you’re in for a shock. As mentioned, there are nuggets of punk rock ferocity here and there, but for the most part, it’s a delightful, at times delicate, uplifting collection of songs that are as brave and courageous as they are enjoyable. It’s also incredibly clever how, even in its very lightest moments, you can hear Napalm Death DNA pumping its way through this album’s soul. In summary, approach with caution, enjoy at your leisure and then luxuriate in its sheer audacity and excellence.
(8/10 Nick Griffiths)
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