No many words of introduction are required for Deicide, the historical and controversial death metal band from Florida, at least for all the die hard fans of this genre of music. For all the others it may be sufficient to say that Deicide have been among the protagonists of the extreme metal of the last thirty years; in all this time they have spread their violent and iconoclast music through twelve studio albums and many turbulent live concerts.
I’ve never been a big fan of the band and there have been other formations from the same area that I’ve appreciated definitely more than Deicide, such as Obituary and Massacre. Anyway, it’s impossible to neglect the influence that Deicide had on the death metal scene of the 90s, and this happened not only because of the exaggerated image they gave to themselves, but also thanks to the consistency and the peculiarity of their style of metal. Over the years, however, the interest in the band has slowly diminished and for this reason I approached their new LP, Overtures of Blasphemy, without particular expectations.
After having listened and analyzed this record for many times, however, somehow I had to change my mind. As a matter of fact, if we compare Overtures of Blasphemy with the latest works that have been released by other legendary representatives of Florida death metal, I must admit that the new LP from Deicide is presumably the most solid and consistent one. Rather, the quality of the riffs and the overall feeling that emerges from Overtures of Blasphemy are second to a very few albums among those which were released in recent times by more modern and young formations.
The songs of Overtures of Blasphemy have two main characteristics. First: they are fast and devastating, and some tracks will leave you literally breathless if you try to follow the groove. Second: what comes out from the amplifiers is substantially a compact and deadly wall of sound, something which hits you with ferocity and brutality, a unique stream where Glen Benton’s guttural voice becomes one single thing with the guitars of Kevin Quirion (at the second LP with the band) and Mark English (at the first studio experience with Deicide). Every so often there is a short guitar solo that seems to interrupt the sonic attack, but it’s just for a few seconds and the machine will quickly start to grind new riffs.
In summary, there are albums like Overtures of Blasphemy which, although not destined to leave a permanent sign in the history of metal, make us understand the reason why some bands have reached the status of legends, while many others are hopelessly stirring in the swamps of anonymity.
The new album from Deicide is available for streaming on Spotify. My favorite songs are Seal the Tomb Below, the opening track One With Satan, and Anointed in Blood.