Melvins & Napalm Death Savage Imperial Death March (Reissue)
Released Apr 10, 2026 Ipecac Recordings
Consensus forming 3 professional reviews Updated Apr 10, 2026
Mostly positive consensus
Consensus is still forming across 3 professional reviews. Melvins & Napalm Death's Savage Imperial Death March (Reissue) opens as a bruising document of two extreme-rock elders trading blows and moods, and the critical consensus suggests it mostly succeeds.
How ChoruScore worksCritics' Top Tracks
The songs critics returned to most
Tossing Coins Into The Fountain Of F**k
1 critic mention
Rip The God
1 critic mention
“Once Barney 's strong death vocal belch rears its ugly head, the track soars to greater heights.” — Blabbermouth
Nine Days Of Rain
1 critic mention
“It's quite the stand-out track with its repetition; however, the ongoing delivery of the main riffs proves to be a two-edged sword” — Blabbermouth
Full critic consensus
Melvins & Napalm Death's Savage Imperial Death March (Reissue) opens as a bruising document of two extreme-rock elders trading blows and moods, and the critical consensus suggests it mostly succeeds. Across three professional reviews the reissue earned a 73.33/100 consensus score, with critics noting how the collaboration balances doom/sludge weight and grindcore ferocity while also venturing into ambient experimentation.
Reviewers consistently praise specific tracks as highlights: “Tossing Coins Into The Fountain Of F**k” appears as an unrelenting, catchy noise-rock punch, “Nine Days Of Rain” registers as a slow-burn ambient standout, and “Rip The God” surfaces as a cocky, melodic dirge amplified by guest death vocals. Critics agree the record captures the touring reunion chemistry between the bands, converting live ferocity into studio muscle on fierce cuts such as “Some Kind Of Antichrist” and “Death Hour” while preserving legacy and influence.
Not all responses are uniformly ecstatic. Some reviewers laud the album's oddball charms and fresh reissue touches, while others point to relentless loudness and abrasiveness as polarizing elements that limit accessibility. In sum, the critical consensus frames Savage Imperial Death March (Reissue) as a heavy, often rewarding collaboration: essential listening for fans of both groups and for those drawn to the collision of sludge doom weight, grindcore bite, and occasional ambient respite. Read the full reviews below for track-level breakdowns and varied perspectives.
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
Tossing Coins Into The Fountain Of F**k
Some Kind Of Antichrist
Awful Handwriting
Nine Days Of Rain
Rip The God
Stealing Horses
Comparison Is The Thief Of Joy
Death Hour
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What Critics Are Saying
Deep insights from 2 critics who reviewed this album
Bl
Critic's Take
Melvins & Napalm Death sound like old hands trading licks on Savage Imperial Death March (Reissue), and the best songs here - specifically “Tossing Coins Into The Fountain Of F**k” and “Nine Days Of Rain” - show why. The reviewer's voice delights in the record's oddball charms, calling “Tossing Coins Into The Fountain Of F**k” an unrelenting, catchy as hell noise rock punch and praising “Nine Days Of Rain” as a slow-burn ambient stand-out. There is also affection for “Rip The God”, a cocky, melodic dirge that finds new heights when Barney's death vocal appears, which explains why these tracks emerge as the album's best. Overall the reissue feels fresh, fun and atypical while still honoring both bands' legacies.
Key Points
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The best song is “Tossing Coins Into The Fountain Of F**k” because it delivers an unrelenting, catchy noise-rock punch that lodges in the brain.
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The album's core strengths are its playful experimentation, ambient textures, and the satisfying collision of Melvins' sludge and Napalm Death's intensity.
Themes
Th
Critic's Take
On the evidence here, Melvins & Napalm Death have converted live ferocity into something more enduring on Savage Imperial Death March (Reissue). The reviewer writes with a blunt, celebratory register, emphasising how the pair 'scorch' and 'damage' in equal measure, which makes tracks like “Some Kind Of Antichrist” and “Death Hour” feel like the album's fiercest moments. This feels like the best tracks on Savage Imperial Death March (Reissue), where the touring chemistry translates into studio muscle, and the record's abrasive heft is its chief accomplishment.
Key Points
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The best moments come from the bands' live-honed aggression translated into studio form.
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The album's core strength is its uncompromising loudness and the durable partnership between the two bands.