Death is a negation, an elimination of the force that gives life, the absolute end of all cognitive positivity. In a celebration of extinction, hymns of death’s power over the human psyche can only manifest themselves in the harshest, most sinister, and diabolical forms. If death metal aims to achieve this sonic goal, Decrepit stands head and shoulders above the fledgling mass. Before death metal was a safe or cartoonish caricature, the crisp and blasphemous hooks of “Lusting for the Day’s End” embodied the nature and atmosphere of the never-ending “end-complete”. Hellhammer, Possessed, Bathory, Venom, and the legion of unholy bands that gave birth to the genre are invoked in a twisted and macabre perversion of the mass of those who celebrate life. This is what it means to choose death. This is death metal. This is Decrepit.
Although officially formed in 1991, the ominous legend known as Decrepit rose from the blasphemous ashes of Mutilation whose seeds were first sewn in Cleveland’s emerging underground death metal scene in 1988.
Along with pioneering acts such as Immolation and Incantation, Decrepit crafted dark, sinister, and malicious metal with a powerful influence from not only the prominent American death metal movement, but early black metal bands such as Sodom, Hellhammer, and Bathory. Throughout their active peak Decrepit played alongside powerhouse acts in the underground and, thanks to Dismal Records & Psychoslaughter Records, were able to distribute their vile brand of unholy grime to a broad audience.
From the now infamous “Hymns of Grief and Pain” demo in 1993 until 1996’s “Acrimonium” EP, Decrepit embodied the macabre spirit of death metal and despite lineup changes and personal tragedy persevered to be remembered as one of the genre’s purest representations of death metal.
Rob Molzan | Vocals
Duane Morris | Bass & Guitars
Matt Sorg | Guitars
Chris Dora | Drums
Tom Rojack | Guitars (RIP)
Gino Lambert | Guitars