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Deicide is an American death metal band formed in 1987. Their first two albums, Deicide and Legion, are ranked second and third place in best-selling death metal albums of the SoundScan era. As Amon (1987-1989)

Deicide was formed in Tampa, Florida July 21, 1987, after guitarist Brian Hoffman called Glen Benton, replying to an advertisement the latter had placed in a local music magazine. They are influenced by bands such as Destruction, Sodom, Venom, Bathory, Possessed, Death and Slayer. Within days the band, consisting of Benton (bass/vocals), Hoffman, Hoffman's brother Eric (guitars) and Steve Asheim (drums), had been named Amon after the Egyptian deity. Within a month, Amon had recorded crude Feasting the Beast 8-track demo in Benton's garage and had started playing the occasional gig in the Tampa area. In 1989, Amon recorded their second demo, Sacrificial, at Morrisound with producer Scott Burns.

However, before being known
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DEICIDE Discography

DEICIDE albums / top albums

DEICIDE Deicide album cover 4.11 | 31 ratings
Death Metal 1990
DEICIDE Legion album cover 3.70 | 32 ratings
Death Metal 1992
DEICIDE Once Upon the Cross album cover 4.11 | 22 ratings
Once Upon the Cross
Death Metal 1995
DEICIDE Serpents of the Light album cover 3.81 | 14 ratings
Serpents of the Light
Death Metal 1997
DEICIDE Insineratehymn album cover 3.79 | 12 ratings
Death Metal 2000
DEICIDE In Torment in Hell album cover 2.81 | 9 ratings
In Torment in Hell
Death Metal 2001
DEICIDE Scars of the Crucifix album cover 3.67 | 13 ratings
Scars of the Crucifix
Death Metal 2004
DEICIDE The Stench of Redemption album cover 4.14 | 18 ratings
The Stench of Redemption
Death Metal 2006
DEICIDE Till Death Do Us Part album cover 3.71 | 8 ratings
Till Death Do Us Part
Death Metal 2008
DEICIDE To Hell With God album cover 3.82 | 13 ratings
To Hell With God
Death Metal 2011
DEICIDE In the Minds of Evil album cover 3.77 | 5 ratings
In the Minds of Evil
Death Metal 2013
DEICIDE Overtures of Blasphemy album cover 3.89 | 5 ratings
Overtures of Blasphemy
Death Metal 2018

DEICIDE EPs & splits

DEICIDE The Stench of Redemption (666) album cover 0.00 | 0 ratings
The Stench of Redemption (666)
Death Metal 2006
DEICIDE Doomsday L.A. album cover 0.00 | 0 ratings
Doomsday L.A.
Death Metal 2006

DEICIDE live albums

DEICIDE When Satan Lives album cover 4.33 | 3 ratings
When Satan Lives
Death Metal 1998
DEICIDE When London Burns album cover 0.00 | 0 ratings
When London Burns
Death Metal 2006
DEICIDE Live In Nottingham album cover 0.00 | 0 ratings
Live In Nottingham
Death Metal 2010

DEICIDE demos, promos, fans club and other releases (no bootlegs)

DEICIDE re-issues & compilations

DEICIDE Amon: Feasting the Beast album cover 3.64 | 3 ratings
Amon: Feasting the Beast
Death Metal 1993
DEICIDE Best of Deicide album cover 0.00 | 0 ratings
Best of Deicide
Death Metal 2003

DEICIDE singles (0)

DEICIDE movies (DVD, Blu-Ray or VHS)

.. Album Cover
0.00 | 0 ratings
When London Burns
Death Metal 2006
.. Album Cover
0.00 | 0 ratings
Doomsday L.A.
Death Metal 2007


DEICIDE Insineratehymn

Album · 2000 · Death Metal
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Vim Fuego
Have you ever had the chance to go back and take a look at something you did a long time ago with a critical fresh perspective on it?

From 1999 to 2001 I was a full-time newspaper reporter for a regional daily newspaper in New Zealand. Due to the paper having a limited roster of reporters, I had a number of different rounds outside agriculture and general news reporting, which were my main focus. This meant I got saddled with a few rounds I knew nothing about, including environmental news (it’s funny, but conservationists don’t like talking to farming reporters), hunting and fishing (er, never done either of those recreationally), religion (atheist, so I gave all the different churches the same time coverage), and real estate (yawn!). It also meant I got a few plum roles too – back-up sports reporter (I got paid to watch rugby!), back-up politics (I got to talk to all the opposition MPs) history (which I have a degree in), and entertainment. Entertainment was my favourite, because it meant I got to interview any passing stars of stage and screen (and radio too), and I got free stuff – concert and movie passes, CDs, video games, books etc.

The CDs I got sent for review were mostly mainstream pop music. I did my best to be impartial, but some of them were just dreadful! So I did what any self-respecting headbanger would do in my position. I started reviewing stuff from my own collection! From 1999 to 2005 (I carried on writing as a stringer after 2001) the paper I worked for had more metal than any daily paper in the whole country. Probably.

By now you’re probably saying “So what? What does this have to do with Deicide? Get to the fucking point or I’m going to stop reading!”

OK, here’s the point: Deicide’s “Insineratehymn” was one of the albums I reviewed. I have just dragged out a yellowing, tattered cutting of the Ashburton Guardian entertainment page for Thursday, November 30, 2000. The page has an interview with Kiwi rock band Shihad (former thrash metal band – sellouts!) and reviews of “Suburbia” and “Insineratehymn”, all written by yours truly.

In the interview, Shihad were promoting their latest album, which I hadn’t heard (oops! Not a great way to research your interview!), but I got to shoot the shit with bass player Karl Kippenberger, who was genuinely nice, and was happy to talk metal, and was very polite when it was revealed I hadn’t heard the new album. Full confession: I still haven’t!

“Suburbia” was a novelty album. The cover had Astroturf stuck to it, and it was 74 minutes of someone mowing the lawn. Yep, the drone of a lawnmower going up and down a lawn. Not exactly riveting, but it did make a great Christmas present for my younger brother.

Alright, if anyone is still reading, time for the Deicide review. From here on, this is the actual text from 2000, with my 2020 comments in [square brackets].


Deicide have often been criticised for their unwavering use of death metal clichés.[For some context, I think it was probably me accusing Deicide of cliché more than the metal media at large. I can’t remember why, but I wasn’t that keen on the band at this time. It makes me wonder why I bought the CD in the first place!]

Vocalist Glen Benton has never sung a note in his career, drummer Steve Asheim still abuses his double kick drums, and guitarists Eric and Brian Hoffman still reel off cheesy guitar solos. [I suppose I meant Glen Benton had always growled his vocals, but I probably should have pointed this out in such a mainstream publication. Those might be clichés, but Deicide’s sound has always been unique.]

However, Deicide have been playing this way for more than a decade now, and there is no reason they should change now. Does anyone ever tell AC/DC they need to change?[I still agree with this. Deicide’s sound was really distinct then, and still is now.]

As usual with Deicide, Glen Benton travels down the well-worn Satanic/anti-Christian lyrical path. While often working well, Benton dishes up a bit of a dud once on the album. The chorus to “Bible Basher” is almost funny. You can’t scream “bible basher” over and over and sound scary, Glen![Yeah, the chorus to “Bible Basher” still sounds really fucking stupid!]

However, Deicide are one of the few bands who practice what they preach. Benton still brands an inverted cross in his forehead on a regular basis, despite many thinking it was just for show.[I should have explained what the significance of the inverted cross brand was, for the non-metal audience again. How did I ever get paid for writing this shit?]

The Church of Satan has made him an honorary member, while shock rocker Marilyn Manson had to pay for his membership. Even the album cover has a stylised 666 on it.[Yeah, enough of the Satan shit. Did you forget you have a limited wordcount in a newspaper? What did the fucking music actually SOUND like? Mentioning Marilyn Manson was a good touch though – he was public enemy number one at the time, guaranteed people would read this, and probably the only Satanist most people had heard of.]

Deicide have slowed down on the odd track, to great effect. [Er, shouldn’t this be up a paragraph or two? And name some you lazy bastard! “Forever Hate You”, “Refusal of Penance”, “Standing in the Flames” maybe?] Some of the riffs come through with a crushing heaviness, where they would have been lost in a high speed blur in the past.[True. On the first two albums Deicide was just about straightforward speed. This really limited the scope of their music. The different dynamics after that really helped. Some of the slow chug riffs here, like on “The Gift that Keeps on Giving” paint a distinct contrast to the Asheim-led blast beats. “Halls of Warship” does it well too, the name of which looks like a typo, but the song’s lyrics also use the word “warship”. Who knows?]

Deicide will probably not pick up many new fans with this album, but the band has a well-established base, and are continuing to do what they believe in.[Actually Deicide didn’t really believe in this album much. It was a contractual obligation album, when the band’s label Roadrunner were being less than helpful. Deicide was far from a typical turn-of-the-millennium Roadrunner band, in that they weren’t playing commercially orientated nu-metal or rap metal, and had zero chance of ever gaining any radio play. However, in smashing out an album as quick as possible, Deicide produced a very strong album, almost accidentally. It was poorly received on it’s release, but it has actually held up well. There are some classic riffs here, and Benton’s vocals were clearer than on previous albums, but still just as bestial. He’d matured as a vocalist, if not lyricist. No, the song “Bible Basher” hasn’t got any better despite the passage of 20 years, but the other nine songs here are worthy additions to the band’s legacy.]


Back in 2000, I would have rated this album 2 out of 5, but this is 2020. Now, I’d double that score. This is easily a 4 out of 5. It has all the essential elements of a good Deicide album – fast, heavy, chaotic, blasphemous. Unfortunately, it has the dud opening track, which drops it’s value a little. However, get past that and you’re into some good, solid Satanic death metal.

As for a fresh perspective on the writing? It’s fucking terrible! The original review does little to adequately describe the actual music, and fails to address it’s actual audience and panders instead to a small clique of readers. The paper’s circulation was about 6,000 copies a day. Hopefully, few people if any, remember this review besides me. On the other hand, every single issue of this paper back to it’s creation in 1880 has been archived, so this hack piece will be preserved forever more. Fuck…

DEICIDE Amon: Feasting the Beast

Boxset / Compilation · 1993 · Death Metal
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"Amon: Feasting the Beast" is a compilation album by US, Florida based death metal act Deicide. The compilation was released through Roadrunner Records in 1993. It features the material from the band´s two demo tapes "Feasting the Beast (1987)" and "Sacrificial (1989)", which were both released under the Amon monicker before the band changed their name to Deicide. A name change which took place in late 1989 just prior to the recording of Deicide´s self-titled debut full-length studio album "Deicide (1990)".

The tracklist is in reverse order, which means that the four tracks from the "Feasting the Beast (1987)" demo appear last on "Amon: Feasting the Beast", while the six tracks off the "Sacrificial (1989)" demo open the compilation. All tracks on the compilation appear in re-recorded versions on "Deicide (1990)" (except "Feasting the Beast", which is a short intro to the 1987 demo). "Oblivious to Nothing" was retitled "Oblivious to Evil" on the album version though. "Sacrificial Suicide" is featured twice on "Amon: Feasting the Beast", as the track originally appeared on both demos.

The material from the "Sacrificial (1989)" demo are recorded in a professional recording studio and features a very well sounding production. The sound quality is actually not far from the sound quality of the recordings on "Deicide (1990)", and most of the demo tracks also sound more or less like they do on the debut album. There are small differences though. For example in how the guitars sound/are played and the lack of samples on "Carnage in the Temple of the Damned". The vocals are also presented in a more stripped down version and doesn´t feature as many effects as they do on "Deicide (1990)". Overall the quality of the material and the recordings are very high and this demo could well have been released as a regular studio release. Listening to "Sacrificial (1989)" it´s no wonder Roadrunner Records signed Deicide.

The material off the "Feasting the Beast (1987)" demo is a lot more raw and unpolished. Best heard when comparing the early version of "Sacrificial Suicide", to the well produced and powerful version of the track featured on the "Sacrificial (1989)" demo. Both "Day of Darkness" and "Oblivious to Nothing" are great tracks though and although quite bit more raw and unpolished than the later version of the track, "Sacrificial Suicide" is also a quality track in this version. It´s all very lo-fi and noisy and Glen Benton´s distinct sounding intelligible growling vocals are on an early stage of development at this point. It´s not the material from "Feasting the Beast (1987)", which makes "Amon: Feasting the Beast" worth the purchase.

"Amon: Feasting the Beast" is still overall a quality compilation album by Deicide though. You can argue that there aren´t any material here, that you don´t have access to on "Deicide (1990)", and that the demo versions in most cases are so close to their studio counterparts, that it makes the demo versions redundant (at least when it comes to the material from "Sacrificial (1989)"), but personally I still hear enough differences for "Amon: Feasting the Beast" to be a worthy purchase for fans of the band. The material from "Feasting the Beast (1987)" could have been more interesting with a better sound production, but as it is, it´s still an interesting documentation of how the band sounded very early on in their career. A 3.5 star (70%) rating is deserved.


Album · 1992 · Death Metal
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"Legion" is the 2nd full-length studio album by US, Florida based death metal act Deicide. The album was released through Roadrunner Records in June 1992. Deicide enjoyed great success with their 1990 self-titled debut album and was at this point already considered one of the most prolific US death metal acts. Therefore the anticipation among fans and press were huge when "Legion" was finally released.

Stylistically "Legion" continues the blasphemous/anti-christian themed death metal of the predecessor but with a slightly more technical approach. The pace is predominantly very fast, and the material is raw and aggressive. 8 tracks distributed over a 29:04 minutes long playing time and then it´s over almost before you know it. Deicide deliver their music with great conviction and a burning passion. Fast-paced precision drumming, fast aggressive riffs and screaming atonal solos, and Glen Benton´s brutal growling/higher pitched screaming vocals in front. There´s the right authentic brutality and mean bite to the proceedings. Compared to the debut album the more technical playing is just one of the changes. Glen Benton´s vocals have also changed quite a bit. He still delivers both deep growling vocals and higher pitched screams, but his growling vocals are more the barking throaty type growls (completely intelligible) than the more brutal growling of the debut album. According to the liner notes it´s a consequence of no pitch shifters or harmonizers being used on the vocals on "Legion". Uncompromising as ever, and probably to proactively defend his new vocal sound against critical comments from reviewers, Glen Benton wrote these words in the liner notes: "This album was recorded with no harmonizer on my vocals, so for all my vocal critics, SUFFER".

The material is generally well written, but there aren´t as many catchy and memorable tracks as the case was on the debut album. The focus here seems to be more on brutality and the technically more challenging playing. Tracks like "Satan Spawn, the Caco-Daemon", "Dead but Dreaming", and "Trifixion" are still quite memorable though, and there´s nothing on the album which isn´t of a relatively high quality. There just aren´t as many tracks which stick as there are on the debut. The sound production is handled by Deicide and Scott Burns, and not surprisingly "Legion" therefore features a pretty classic sounding Morrisound Studios production. Powerful, raw, and brutal. The rhythm guitars are maybe placed slightly too low in the mix, which means the drums, the bass, and the vocals are quite dominating, but it´s not really much of an issue.

Upon conclusion "Legion" is a high quality death metal release. It shows development of style since the debut and while I personally don´t think it quite reaches the heights of it´s predecessor, it´s still a great sophomore album by Deicide, featuring high level musicianship, a powerful and brutal sound production, and good quality songwriting (although some tracks could have been a bit more memorable). A 4 star (80%) rating is deserved.

DEICIDE Overtures of Blasphemy

Album · 2018 · Death Metal
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Kev Rowland
Formed in 1989, Deicide are responsible for shaping death metal at every level. When I first came across them I really wasn’t sure what to think of them, as I felt that metal was being taken into an area I personally wasn’t interested in, and slammed their 1997 album ‘Serpents of the Light’. But, over the years my musical tastes have broadened considerably, and in my fifties I now listen to music that may would consider too extreme for their tastes. Over the last decade I have revisited Deicide, and have discovered that I was a little hasty some 20 years ago, and that the band have consistently produced very good albums indeed. Glen Benton is still there of course, as is drummer Steve Asheim, as they have been ever since they formed Amon all those years ago. Guitarist Kevin Quirion has been joined by newcomer Mark English, and the band have yet again produced an album which is a solid example of the genre.

Interestingly, Benton has returned to songwriting, something that hasn’t happened since 1992’s ‘Legion’, with opening track “One with Satan,” “Compliments of Christ,” and “Consumed by Hatred,” the rest of the guys fleshed out the remaining nine tracks. “When we started the writing process,” says Benton, “I said to the guys, ‘This record doesn’t have to be boring, going-nowhere grind-all-the-time death metal. Let’s really focus on the quality of the songs, I wanted them to write tasty licks and catchy hooks this time. And let the vocals give it its definition.” No-one could ever imagine that this was anything but Deicide, Benton makes sure of that, but this is an album that actually contains a great deal of variety and styles. They never really slow it down of course, but there are times when it is more power metal than death, and these changes allow the music to breath and give the listener the opportunity to recover from the attack. If ever an album was meant to be played at 11 then this was it, and Asheim shows that he has lost none of his power and attack over the last 30 years, still pummelling the skins like an album. This may not make them any new fans, but all those who already enjoy Deicide will find that this album is one of their most disparate for a while, and all the better for it.

DEICIDE Once Upon the Cross

Album · 1995 · Death Metal
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"Once Upon the Cross" is the 3rd full-length studio album by US, Florida based death metal act Deicide. The album was released through Roadrunner Records in April 1995. Deicide is one of the originators of the Florida death metal scene and enjoyed great success with their first two albums "Deicide (1990)" and "Legion (1992)", which are both widely considered classic death metal releases from the heyday of the death metal scene. By 1995 things had already changed a lot though and death metal as a music scene was popularity wise in decline. A lot of death metal acts lost their recording contracts or disbanded around this time, but Deicide stayed true to their style and soldiered on.

Which is why it should come as no surprise that the music on "Once Upon the Cross" pretty much continues the brutal old school US death metal style of it´s two predecessors. The anti-Christian/blasphemous lyrics are in place, which is abundantly clear when reading song titles like "Christ Denied", "When Satan Rules His World", and "Kill the Christian", the skillfull execution of the music is also present and accounted for, and the powerful Morrissound production by Scott Burns is also there, so as mentioned there are no surprises on "Once Upon the Cross".

So it can be argued that Deicide haven´t developed much and that "Once Upon the Cross" isn´t their most necessary release, but while there is some truth to that, the 9 track, 28:11 minutes long album is overall of such high quality that all is more or less forgiven. There are tons of artists out there who make the same album over and over again, and some artists can get away with it either for a while, or for the duration of their career, and on "Once Upon the Cross", Deicide still fell under the first catagory (it´s up for discussion if they fall under the latter today). They don´t necessarily sound as fresh or innovative as they did on their first two releases, but they still deliver their music with fierce conviction and a burning brutal passion.

Deicide is very well playing and perform both really fast parts and heavier ditto to perfection. Drummer Steve Asheim is technically skilled and changes pace with ease, the Hoffman brothers churn out one fast brutal riff and screaming solo after another, and vocalist/bassist Glen Benton delivers solid bass playing and distinct sounding and mostly intelligible deep growling vocals. His use of higher pitched screams is relatively limited on "Once Upon the Cross".

Upon conclusion "Once Upon the Cross" is a very strong death metal release by one of the most distinct sounding acts in the genre. High level musicianship, a raw and powerful sounding production, and songwriting that may not be as memorable and catchy as on the first two releases, but still is relatively memorable and way above standard for the genre. A 4 star (80%) rating is deserved.

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