In preparation of their upcoming special edition 2CD, 2LP and digital rarities and covers compilation, Coded Smears And More Uncommon Slurs, out on March 30 via Century Media Records, UK's grindcore pioneers Napalm Death have revealed a second single from the upcoming release. Coded Smears And More Uncommon Slurs will include a total of 31 songs in a playing time of over 90 minutes, compiling rarities and exclusive earworms spanning 2004-2016 from the whirling gene pool of noise that is Napalm Death.

Napalm Death are also excited to share that they have been announced as support for legendary metal act Slayer on the second leg of their farewell tour in North America alongside metal giants Lamb of God, Anthrax and Testament. Bassist Shane Embury commented: "Napalm Death are very excited to be part of the second leg of Slayer's farewell tour! Having been a fan since back in the day, I never would have thought when I bought the import copy of Show No Mercy that playing grindcore would catapult us into this universe.” 

Napalm Death will continue to expand their relentless touring campaign all over the globe as they will be seen prior to the Slayer making their way across Europe appearing at several of the largest Summer festivals including Hellfest (France) and Inferno Fest (Norway). The band have also announced a comprehensive tour across Latin America in September and October with Cannibal Corpse.

Welcome to HeartSongs, our regularly scheduled (probably) look at songs and the people who write them. We spoke to Michael J. Schumacher from New York experimental noise/pop outfit diNMachine about their new single, ‘Grilled Fish’.

"The spoken part is Alain Robbe-Grillet, the French writer and filmmaker. His name is where the title of the song comes from. His voice has a poignancy that I like. It's backed, so to speak, by a field recording of a park in Barcelona that I made on a trip there last year.

To me, this section seems to issue out of the first part of the song, like an echo of the feelings in the droning bass line; this introspective quality that I'm going for. It's a moment of contemplation before the interruption by the drums.

A lot of the songs on this record explore combining very unlike things; sounds, rhythms, melodies, testing the limits of coherence. This fits right in with that, but the sections are a bit clearer, and more separated. The textures are simpler; there are two or, at most, three things going on at any one time. Like many of the other songs, this started as a bass line improvised on my Verbos synthesizer."