Infinite Depravity by Necropathy

Necropathy is an unrelenting technical death metal project pushing the boundaries of extreme music. Known for their complex riffs, precision, and brutal compositions, Necropathy blends intricate technicality with an uncompromising dark intensity. Their debut 5-track EP showcases a fierce and chaotic sound, built around themes of corruption, violence, and depravity. With their signature breakneck speed and relentless aggression, Necropathy is carving their name into the global death metal landscape.

Signed to Rising Nemesis Records, Necropathy's EP features standout tracks such as "Satanic Ritual Abuse Syndrome" and "Sledgehammer Matricide," delivering crushing soundscapes that leave a lasting impact. The band draws from deep influences in technical death metal while forging new paths through expertly crafted compositions, intense vocal performances, and intricate guitar work.

Tracklist

1.	Sledgehammer Matricide	5:13

2.	Satanic Ritual Abuse Syndrome	4:36

3.	Infinite Depravity	5:18

4.	Corpse Eater	4:06

5.	Atonement (Disgorge Cover)	3:29

Credits

released December 18, 2024

All songs written by: Ollie Morgan (except "Atonement," written by Disgorge)
All lyrics written by: Mac Smith (except "Atonement" & Corpse Eater)
All songs recorded by: Necropathy
Produced, mixed, and mastered by: Jonathan Urwin of Prolific Audio
Label: Rising Nemesis Records
Drum Programming by: Marcel Senesi (except Atonement)

Guest Vocalists Appearances:
- Mac Smith on "Satanic Ritual Abuse Syndrome" and "Infinite Depravity"
- Jim Beach of Pyrexia on "Sledgehammer Matricide"
- Jonathan Urwin on "Atonement" (Disgorge cover)

Guest Musicians:
- Daniel Grainger (drums) on "Atonement"
- Tsunami Kyrdo (bass) on "Atonement"

The Necropathy debut EP is something deeply personal for me, and I want to take a moment to dedicate it to some close friends who are no longer with us. Ben Barry, who passed away six years ago on December 3rd; Paul Mitchell, Joey Beers, Chris Vought, who we lost many years ago—Chris over a decade now—and Althea Jane Vestuir. I also want this to go out to Ryan Wright's friend, Bim. Even though they’re not here to hear it, every single note, every second, every moment of this release was written and recorded with them in mind. Regardless of the style or context of the music, it’s a tribute to them, to the friends we’ve lost, and to the impact they had on our lives. This is the first time I’ve ever written an entire release by myself, and while they can’t be here to enjoy it, I know in my heart they’re up there somewhere, proud, happy, and cranking these tunes. This one’s for them.

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