What happens when one extreme metal band known for highly abrasive and hugely addictive noise appreciates the work of another band known for highly abrasive and hugely addictive noise? They run into one another and create a huge sonic monster intent on flattening planets. In this case, Shane Embury and Mick Kenney formed Born To Murder The World after some drunken nights out in their home town of Birmingham. After knowing each other for two decades, they mulled over a project band combining the ferocity of Napalm Death and Anaal Nathrakh thrown together into a sonic melting pot. As the whole thing began to take shape, they decided on hiring Duncan Williams to perform vocal duties as the icing on the cake to such burning, musical ferocity.
What is particularly remarkable about their debut album The Infinite Mirror of Millennial Narcissism is that they convey such brutality to their music that they seem capable of bending the fabric of time. The whole thing is a shade under 16 minutes, with an average track length of around a minute and a half, but is so dense in its extremity that one could be forgiven the album is double the duration due to the dizzying speed of the album corrupting the senses. The longest track, ‘Genesis Conception,’ has a density to it that is akin to attempting to walk 30 miles to work on a Monday, butt naked, while it rains sandpaper and gravel combined with a 150 mph cross wind. It doesn’t seem like that long ago that the masses raved over Nails and their most current album You Will Never Be One Of Us (myself included), as being grindcore/power violence par excellence. The more cynical among you would simply see as a rehashed homage to what influenced them in the first place. As a consequence, Born To Murder The World have made them look like mere ham fisted amateurs.
The album as a collective whole is unrelentingly savage, and is proud to wear the origins of both Napalm Death and Anaal Nathrakth on its sleeves. The album errs towards cleaner production values which help substantially towards the intensity on a “more is even better” basis, but is not overblown to the extreme. Tracks such as ‘Poisoning Purity’ and ‘Negativity Plague’ are perfect examples of this; combining driving hooks that are well known in the product of both bands, but adding a layer of finely honed refinement that is almost in danger of overshadowing the originator’s works. In some ways, this can be a dangerous thing when a side project manages to eclipse their band member’s origins (Nailbomb’s Point Blank being a perfect case in point), but is delivered in such a manner that invites new listeners to check out their sources too, which is quite an impressive feat. There is a distinct flavor of black metal to tracks such as ‘Brutality Alchemist’, that add a sense of bleak nihilism to the tracks, sounding grimy and permeating throughout the fabric of the album.
To conclude, Born To Murder The World is essentially an extreme metal fans dream that blends together two amazing bands, a long standing friendship, and a mutual appreciation of each other’s collective works. Now, imagine the mayhem that would ensue if this was brought out as an ‘Easter egg’, if Napalm Death and Anaal Nathrakh went on a joint tour?