Harmony Corruption is in a way the first Napalm Death album proper- it's the first to feature the current (and time has proven, only stable) lineup, sans drummer Danny Herrera- the blasts here are courtesy of Mick Harris. It features only eleven songs (unless you're listening to the cassette, which you aren't), and all are over 2 and a half minutes long, with the exception of "Extremity Retained", which I'm not speaking to because it messed up my handy "all-over-2:30 argument and forced this awkward explanatory sentence.
The album was produced by Scott Burns at Morrisound studios in the late eighties, and as such has that distinctive guitar tone and drum sound that also appears on records by Deicide, Death, Cannibal Corpse and Suffocation, but it's not only the production that borrows from the Florida metal scene- the playing too sees the band trying (and succeeding) to emulate what made those bands so popular, and in addition to their own anarcho-punk roots has since formed the basis, the groundwork of their distinctive style. Napalm suits the style, and it's a shame Harmony Corruption was their only recording with Burns (making a liar of Mick Harris, who promises in the liner notes to return the following year. Harmony Corruption would be his last recording with the band). The following album saw an evolution of the sound, incorporating a lot more grooves into slower, much heavier songs.
Barney makes his vocal debut here and couldn't have made a better impression, to this day one of metal's most unique vocalists. Replacing Lee Dorrian's impenetrable gurgling and Nik Bullen's shouty shouty approach, his death metal drawl is coherent, fluid and metal as a big old bit of scaffolding.
Highlights of the album include the choice cuts that made it onto the best-of, namely "If The Truth Be Known", "The Chains That Bind Us" and arguably the band's biggest song "Suffer The Children", though "Mind Snare" and the outrageously funky "Unfit Earth" hold their own as well, the latter featuring the obligatory Scott-Burns-album Glen Benton appearance.
Although it's something of a cliché to roll out when writing album reviews, Napalm were steadily evolving with each album exhibiting a new sound, which is a great way to record, although I do wish they'd hung around Florida for a few more albums, and it's a shame they could never quite beat this guitar tone. Still, if they had, they'd never have met Colin Richardson, and we wouldn't have Fear, Emptiness, Despair, so shut up, me.
In closing: one of the finest of the Morrisound efforts of one Scott Burns.