Vim Fuego Spinal Tap coined the phrase "none more black". Well, there were none more black and evil than this when it ripped into the metal public's consciousness back in 1990.

This album was no groundbreaker musically, nor was it particularly original in the lyrical department. However, as far as malevolence, conviction of execution, and pure Satanic blasphemy, this was unprecedented. The name of the band itself means "the killing of God", and its hard to imagine any deity standing up to the aural onslaught inflicted here. Bass player and vocalist Glen Benton, the driving force behind the band, even declares himself ruler of the world on the title track.

While many a metal band has dabbled in Satanism and the occult to shock and impress, this band was the real thing. Benton, a lifelong Satanist, went as far as branding his forehead with an inverted cross to "drive kindness" from his soul. The cover artwork, and samples on the album further reinforce the Satanic majesty of this heretical creation. Benton was also made an honorary member of the Church Of Satan, while the populist face of Satanism in music, Marilyn Manson, had to pay for his membership!

The subject matter for the album mainly involved praising Satan and killing Christ, but there are also homages to two demagogues of death and destruction, Charles Manson and Jim Jones. Manson is referred to as a "Lunatic of God's creation", and Jones' dubious achievements are celebrated in the song "Carnage In The Temple Of The Damned".

The production is often criticised, as the sound lacks bottom end. Benton's bass is almost unidentifiable and the vocals are less guttural than they could be. However, the lack of bottom end stops the riffs from dissolving into unidentifiable sludge, and allows good definition of the whirlwind riffs and the crazed, manic solos. Also, you can understand almost every word Benton spits forth, something often neglected by death metal bands, but used to excellent effect here. "Dead By Dawn" is one of the outstanding tracks featured here. Solos Slayer would be proud of, a jack hammering double kick drum attack, some nice double tracked vocals featuring demonic screams, frenetic blast beats, and a simple shoutalong chorus are a recipe for pure death metal blasphemy.

This album is a short, yet unrelenting, blast through Satanic death metal ferocity. Many thought Deicide would be a short lived gimmick band. Yeah, right.

siLLy puPPy Clocking in at 33:33 this album packs a punch. I've always considered DEICIDE a 2nd tier death metal act because throughout their long career they have been mostly a one trick pony and if anything bores me more in music it's stagnation and generic offerings. However, despite not reinventing the world of death metal DEICIDE's first two albums are quite exciting rides. Without a doubt this is a classic that is ferociously tight, shockingly evil and obviously influential.

Taking their cues from Slayer as well as the emerging black metal scene from Norway, they upped the aggressive and hostile playing on the musical side of the equation with a faster and more brutal approach than the thrash bands they were emerging from. On the lyrical side they were upping the shock value by incorporating the blatant anti-Christian and Satanic values which at the time got them banned, sued and persecuted. Other themes are about Charles Manson, Jim Jones and the plot of the horror film “The Evil Dead.” Other than the tracks “Deicide” and “Mephistopheles,” the rest of the tracks are re-recorded versions of their demo album SACRIFICIAL that they recorded under the name Amon. Devilishly delicious debut.

arcane-beautiful Deicide's debut couldn't come at a better time. Death Metal had just been seen as one of the heaviest genres. But, there was a problem. In Norway, the first wave of Norwegian Black Metal had started to circulate around the underground scene. Death Metal bands where meeting their European peers and bands had to really step up their game. While Cannibal Corpses lyrics where getting more bloodier, Death's music was becoming more technical, Deicide emerged playing the fastest and heaviest brand of death metal they could possibly muster to make.

The signing of Deicide is one of absolute legend. Apparently Glen Benton stormed into Roadrunner Records, threw a copy of the bands demo and said “Sign us you f**ing a**hole.” And the rest is history. I can kind of see how this marketing technique worked well for the band, because if I was listening to this for the first time, I'd sign these guys to my record label.

The music on this album has a very Slayer sound to it, with the fast tempos, razorblade guitar sound and noisy unplanned solos. But, with there influences clearly noticeable, the album is faster and heavier than anything Slayer could ever produce. Glen's vocals on this album are absolutely insane, and if I was hearing this for the first time in the early 90's, I'd probably be scared to death by the sounds this guy can make. The most unique aspect of Glen's vocals is his diversity. From low grunts to high screams, he really can scare the shit out of you, and when the two mix together, it sounds like a grunt from Satan himself.

Lyrically the tracks change between blasphemy and fiction. Obviously, you expect God hating on this album, mainly due to the band's slight Satanic interests and beliefs, but sometimes the lyrics lean more towards news stories, movies and mainly any story or tale that involves evil.

The opening track “Lunatic Of God's Creation, ” a song based on the Manson family murders, is a brilliant opener, and has some hellbent vocals from Glen.

“Dead By Dawn” is one of the most catchier moments on the album. With lyrics based on the Evil Dead movie, the lyrics do talk about the mythology of the movie itself (being a big fan of the movie, I do favour this song a lot).

The track “Carnage In The Temple Of The Damned” is probably one of the most interesting and unique songs on the album. In the chorus, Glen almost sings some of the phrases and really shows how much of a diverse vocalist he is. The time changes throughout make it pretty musically interesting.

One of the albums most fiercest songs on the album is the track “Mephistopheles.” One of the most fastest and most extreme tracks on the album, Glen's vocals are incredible yet frightening at the same time. I think the song may be a bit too lengthy, especially with the instrumental section at the end.

In conclusion, this has to be one of the best and smartest death metal débuts I've ever heard. Deicide at this point knew exactly what they wanted to achieve and could obtain it easily. At this point, these guys where the heaviest and . If you want to really get a sense of metal history, check out this album and see an underrated classic gem.

8.3/10

Warthur Deicide's debut album might not have been a quantum leap in the development of death metal - after all, Death, Possessed, Morbid Angel, Entombed and Atheist all released earlier albums - but it more than makes up for that in really mastering the ideas and conventions of the American school of death metal and creating an exceptionally tight album around it. With fantastic soloing by the Hoffmans and absolutely deranged vocals by the gruff and gutteral Glen Barton, it's a treat from start to finish for any death metal fan, though it doesn't add so much that's particularly new or unknown in the genre.

J-Man The legendary debut from American death metal Deicide still stands today as one of the genre's most defining and seminal releases. Containing a level of brutality that few death metal albums had previously accomplished, as well as some of the most vehemently anti-Christian words ever penned, this 1990 classic is one of the crowning achievements in early death metal. A brutal, sinister, and blasphemous journey indeed, Deicide is also a surprisingly memorable release. All of the songs here are, in spite of being insanely brutal and dense, instantly recognizable - throughout this rather short album you'll find some of the most memorable and powerful riffs in all of death metal. While it can be a bit too one-dimensional at times, Deicide is a classic and (for my money) one of the best American old school death metal albums.

For anyone with any knowledge of the raw, blasphemous, and semi-technical style of American old school death metal, it's immediately clear that Deicide is the absolute epitome of this sound. On this album you've got the fat guitar riffs, fast-paced rhythm section, and rather technical compositions, as well as some of the most evil, anti-Christian, and Satanic lyrics you'll ever read. Glen Benton's tepid lyrical formula got old on a few later Deicide albums, but here his hatred and anger shines through in a way that can only be described as pure brilliance. His unique and insanely gifted vocal techniques which often combine deep guttural growls with high-pitched shrieks sound like a demon straight from hell - I can't think of a more fitting vocal style for lyrics like this. Despite this being only their debut, the other musicians are also exceptionally tight and precise; these guys were gifted musicians and songwriters right from the get-go. Right from the opening lick in “Lunatic of God's Creation” to the cryptic ending of “Crucifixation”, the listener is blown away by highly memorable and insanely brutal death metal madness. Certainly not a journey worth taking for the faint of heart (or, much less so, the religious fellow), Deicide is an angry and irresistible listen if you're in the mood for such an album. Factor in the beefy production from none other than Scott Burns and it looks like we've got a classic on our hands.

Deicide is one of the most important extreme metal releases of 1990, but my praise for the album doesn't stop there. In addition to being an essential classic based on historical merit, this is a damn good record from start to finish, filled to the brim with memorable riffs, passionately pissed off vocals, and some of the most mosh-inducing sections in all of metal. I don't love all of Deicide's later outings, but this debut is a fresh, original, and astonishing sentiment of old school death metal. 4 stars (or pentagrams) are well-deserved for this highly recommendable classic.

UMUR Deicide is the debut full-length studio album by American death metal act Deicide. The album was released in June 1990 through Roadrunner Records. The band were originally called Amon and recorded two demos under that name but they opted for a name change to Deicide before the recording of the debut album. Deicide was recorded at the now legendary Morrisound Recording at Tampa, Floria with producer Scott Burns.

The music on the album is anti-Christian/ Blasphemous/ Satanic themed death metal. With songtitles like Lunatic of God's Creation, Blaspherereion and Crucifixation not much is left to the imagination. Unlike the sometimes primitive and repetitive lyrics on later albums by the band, I think the lyrics work well on this album. Maybe it´s because later albums didn´t improve much on the formula that Deicide started here. The album is over in 33:35 minutes and the 10 tracks on the album are all relatively short. It´s a perfect length for an album containing music this extreme. The pace is mostly really fast with lots of blasting drumming but drummer Steve Asheim is a force to be reckoned with and changes pace often enough for the songs to never get trivial. This means that all tracks are strong and memorable. Standout tracks one the album are Lunatic of God's Creation, Dead By Dawn, Carnage In The Temple of The Damned and Day of Darkness.

The musicianship is really strong on the album. Tight playing all around. The screaming solos could have been a bit more varied, but on the other hand they suit the music well. Glen Benton delivers his strongest ever vocal performance on this album. This was before he ended up growling so deep that he became almost undecipherable. His now legendary high pitched demon sneer and his growling vocal style was a great pair back then and I remember his style was considered quite unique.

The production is a typical Scott Burns creation. Heavy and brutal. The guitars are a bit thin sounding at times and on occasion it´s hard to decipher exactly what is played but otherwise the sound suits the music well.

Back in the day Deicide was one of my favorite albums and I must have listened to this album hundreds of times so forgive me if there is a slight nostalgia factor present when I rate this album. Even without the nostagia this is a "classic" American death metal album from the early nineties and of course a must have in any death metal fan´s collection. Sadly you won´t need much more than this album ( and maybe a couple more) by the band, because they didn´t change their sound much after this. So if you´re planning on getting a Deicide album I would strongly recommend that you purchase this one first. A 4 star rating is fully deserved.