In 1989, the same year they released their iconic sophomore album Disgrace To The Corpse Of Sid on Earache records, Sore Throat would immediately follow that with another album, Never Mind The Napalm Here's Sore Throat on another UK label Manic Ears Records, where they would immediately begin trashing Earache label boss Digby Pearson alongside a host of other targets (including their momentary labelmates Napalm Death, whom are referenced in the cheeky album title as well as songs like "Can You Dig It"). Taking the title and sleeve design from the legendary Sex Pistols album, this continued in their weirder, goofier direction that Sore Throat took on their one and only Earache release, blending brutal crustcore and five-second noisecore microblast with weird effects, insane comedy bits, unexpected musical backing, and an even more emboldened "fuck 'em all" attitude than ever before. It's a noisecore classic, as well as one of the weirdest albums to ever come out of that late 1980s UK extreme music underground; much like their previous stuff, this is loaded with bizarre, inscrutable in-jokes, a completely wonky sense of humor, and an experimental freedom that frequently veered way off what listeners at the time would have been expecting from an "extreme" hardcore/grindcore album. It's as much a prank on the audience as it ios on ther targets of their ire, but the twenty-songs (in just shy of twenty minutes) also tackle the various current affairs that enraged 'em; a vicious anti-authoritarian streak runs through the whole thing, with plenty of songs blasting authority figures, fascist ideologies, technological control systems, and environmental collapse.

All of these different facets of Sore Throat's worldview collide into a supremely obnoxious sonic stew that materialize as outraged political statements, Cold War anxieties, blistering metallic hardcore fueled by brutalalizing Discharge-style drumming ("Something That Never Was", "Man's Hate", "Channel Zero Reality", "We'll March Against The Nazis"), inhuman guttural roars and high-pitched shrieking, absolutely mangled guitar noise and near-shapeless hyper-distorted "riffs", bulldozing bass sound, outrageous sound effects, whiplash shifts into melodic punk or slower, trippier passages, hyper-pissed denouncements of capitalist exploitation, and brief detours into steamrolling slo-mo heaviosity. There is a cover of Hawkwind's "Silver Machines" retitled ""Silver Kerching", and even though it's another one of their more comical spoofs (complete with totally ridiculous falsetto backing vocals and a generally cartoonish approach), it still sounds like a complete banger. Their animlaistic shrieks and growls are backed by a mournful classical piano piece on "The Snowman", and the very end of the album descends into aural madness with the insane noisecore / cut-up of "Eric Pickles Is A Fat Tory Bastard", followed with the out-of-control experimental noise / libel of closer "Dig Is A Fat Capitalist Cunt". These guys clearly did not give a fuck.

The riffs are crushing, making up some of the heaviest stuff that Sore Throat ever did at the time

Even though there's actually a lot less "noisecore" on this one compared to Disgrace and it has a comparatively thicker, more coherent production, it's still another essential noisecore album, and you hear the echoes of Never Mind The Napalm all across the following decades of extreme hardcore, crust, noise-punk, and grindcore.