Like an avalanche of toxic mud and smashed glass comes the torrent of “Decay In Hades,” by Italian sludge mongrels, GRIME. The maiden single from their impending Circle Of Molesters LP, nearing release via Argento Records, comes through an exclusive premiere courtesy of Decibel Magazine.
Alongside the public’s first experience with the record’s damaging ways, GRIME issues collectively of the track, “Decay In Hades is one of the first new songs we wrote with our new lineup and a step further from what we did in the past. On this track we abandoned our minimalistic approach with the sonic purpose to humiliate and annihilate the listener through its hypnotic, repetitive riffs and its double bass layer. It’s all about intensity. Lyrically the song deals with the cult of death.” Decibel reports that the track is a, “hammering, repetitive slab of, well… grime that you didn’t know you desperately needed until right fucking now.”
Rot in GRIME’s “Decay In Hades” at Decibel Magazine RIGHT HERE.
GRIME‘s Circle Of Molesters is the first release from Amsterdam-based Argento Records — the label founded by Michael Bertoldini of The Secret and Clio Leeuwenburgh of Headspin Records — the album to be set upon the masses on September 1st. With grotesque wrap-around cover artwork and layout by Jason Barnett featuring photography by Paolo Podzinkova, Circle Of Molesters will see release on 180-gram LP– 200 on black, 150 on red, and 150 on clear/smoke — in a full-color gatefold with lyric insert, and via digital outlets.
Following the release of their independent debut EP in 2011 and their dominating 2013-released debut LP, Deteriorate (Forcefield Records/Mordgrimm), GRIME oozes forth with their most brutalizing display of gutter-born, diseased sludge metal yet with Circle Of Molesters. Like a volcano rupturing megatons of rotting flesh, for nearly forty minutes the band’s gnarly scourge will suck you into the darkest depths of suffocating death, yet all the while taking their petulant tonal attack to new heights, integrating more body-mangling dynamics than ever. Bringing this auditory destruction to life, the band enlisted the recording and mixing work of sound engineer Lorenzo Stecconi (Ufomammut, Amen Ra, Zu) and final mastering duties to Brad Boatright (Sleep, Corrosion Of Conformity, Nails) at Audiosiege, both factors helping shape every bit of the band’s tonal wrath to thundering clarity.