It's only been two years since Grime unleashed their misanthropic, despondent middle finger known as Deteriorate. It you need a refresher on how that sounded take forty-minutes out of your day, re-read that last sentence and jam that sucker once more. The record was so filthy you got, well, grime under your finger nails just handling it. And the band is making no effort to change any of that with their follow up Circle of Molesters.
What one can never tell when writing a review during and/or after the initial release of an album is truly how well it's going to hold up over the next few years (sometimes even months). For me, Italy's filthy boys wrote an album that I never forgot about, but also not one I was revisiting weekly or monthly. However, the announcement of Circle of Molesters and the teaser of “Decay In Hades” was enough to make one's blood run cold. But just how killer was Grime's new album going to be?
Like its predecessor Circle of Molesters is a claustrophobic invasion. Its production and instruments feel suffocating as it trudges onward. When the third track “Verge of Wrath” hits, this is exactly where Grime really bring out the feeling. And it never goes away. Other tracks like “Salvation Come From Below” perpetuates the process as one travels through the run time. Grime's focus on delivering, heavy, wrecking ball-like strikes every time the chords are struck (especially with the bass). It's there that the title of the album starts to feel like it was adequately named.
Though fully a sludge unit, Grime have picked up the speed and begun to stomp through their own muck with more tenacity. The aforementioned “Decay in Hades” is by far the most standout track on the album. Chris' crushing drums (especially that double bass) and the killer guitar lead are golden sludge in a sea of heavy riffs. The song is vicious and memorable, and followed by the slow, seething “Sulphorous Veins”, the album's second best song.
There's two things about Circle of Molesters that come off as a bit surprising. Deteriorate was certainly a rawer album, at least in the recording department but both albums feel like they're at about the same recording volume, one just having its bass cranked up more. Circle of Molesters is actually not that loud in comparison to a lot of other modern albums. Does it need to be? Not necessarily. Volume wars have been raging on for years on who can make the loudest album but it was noticeable.
The other odd thing about Circle of Molesters is that Grime still maintain an energy but, “Decay in Hades” aside, they haven't brought much more energy to the pit. Marco's vocals on Deteriorate are actually far more savage and skin peeling than they are here. The band also, comparatively, feels more tamed here. There's still plenty of hate, misanthropy and brutality but Grime feels more in control and less unchained. It's like a claustrophobia one is growing accustomed to.
I don't wanna discourage anyone from hearing this album. Grime have still crafted a badass piece that is well worth your time, especially if you're into bands like Cowards, Meth Drinker or Noothgrush. Circle of Molesters has plenty of brutality and filth to spare. It favors the slow side of things and aims to punch you in the mouth. If you had a perchance for Deteriorate then dive into this one right now. Grime still have it in them to craft a nasty, brutish, ugly album. And it doesn't look like they're ready to stop any time soon.
[youtube]https://www.youtube.com/watch?v=-f49AW7IOM8[/youtube]
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