Begrime Exemious Unleash New Track "Hell's Embrace"

"Hell's Embrace" is the first track available off of Rotting in the Aftermath which will be available on CD, digital, vinyl and cassette July 10 on Dark Descent Records.

Pre-order the album at darkdescentrecords.bandcamp.com/album/rotting-in-the-aftermath

“Following the release of The Enslavement Conquest in 2016, we started to write music for its follow up. We took our time over the next couple years writing the songs, as we were still supporting the last album on the road with tours across the US and Canada,” says Derek Orthner (vocals & guitar).

He continues, “Naturally, the new songs made their way into our setlists, and by 2018, we attempted to record. This session was aborted in favor of further refinement, as we felt these songs could benefit from faster tempos and even lower tunings in some cases. Finally, in 2019, we recorded the nine tracks of what would become our fourth full-length, Rotting in the Aftermath. We pushed ourselves deeper into the realms of death metal, and as such, we feel that Rotting in the Aftermath is the best representation of what BEGRIME EXEMIOUS is all about. It was truly forged on the road, and takes our brand of filth to the next level of apocalyptic devastation.”

Rotting in the Aftermath was recorded by Derek Orthner and Lee Norland. The album was mixed by Derek Orthner and mastered by Dan Lowndes. The artwork was done by Mark Riddick, with additional art by Necromogarip. Layout by Derek Orthner. Band photos by Corvus Oculus.

1. Cruel Mistress

2. Breach the Stronghold

3. Hell's Embrace

4. Infected Mind

5. As Bodies Collapse

6. Regressive Divisions

7. Galvanized (Like Nails)

8. Planetary Crypt

9. Diseased Mankind

Dan Craley
Gotten Out By
Dan Craley

Dan started Getting It Out back in 2018 as a stand alone podcast. He’s been writing for music websites for over a decade and finally decided to start his own. Now living in Lancaster, Pennsylvania with his wife and kids, he briefly sang for Baltimore’s Pleasant Living.

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