For a band who have explored the deepest recesses of hell for 30 years, Deicide have managed to stay relevant and fresh in the ever-changing and intensively growing death metal world. Overtures of Blasphemy, their first album in nearly five years, is proof positive.
The ever-formidable and truly blasphemous quartet deliver a blistering offering, one that features brutal performances across the board, but particularly from guitarists Kevin Quirion and Mark English. The album-opening “One with Satan” grinds beneath Benton’s uber-possessed lyrical delivery, offering complex interplay amid impenetrable blasts. “All that is Evil” begins as typical fare but the verses are tied together with fleet-fingered fretwork that make this track anything but conventional. “Destined to Blasphemy” features precisely executed time changes, ranging from voluminous chugs to rapid-fire runs, and serves as the defining track on Overtures of Blasphemy.
There are some typical grinders that are formulaic and very typical Deicide, such as the “Crawled from the Shadows,” but they leave little more than a blemish on an intense collection of tracks. With few songs lasting more than three minutes, these sonic ambushes pack a wallop and leave an insatiable desire for more.
It has been what feels like a lifetime since Deicide last eviscerated listeners with an album, and Overtures of Blasphemy is certainly worthy of the wait. Blatant irreverence has never felt so good.
https://pan.baidu.com/s/1keU1DtDS71AElyV6G9_slA
The ever-formidable and truly blasphemous quartet deliver a blistering offering, one that features brutal performances across the board, but particularly from guitarists Kevin Quirion and Mark English. The album-opening “One with Satan” grinds beneath Benton’s uber-possessed lyrical delivery, offering complex interplay amid impenetrable blasts. “All that is Evil” begins as typical fare but the verses are tied together with fleet-fingered fretwork that make this track anything but conventional. “Destined to Blasphemy” features precisely executed time changes, ranging from voluminous chugs to rapid-fire runs, and serves as the defining track on Overtures of Blasphemy.
There are some typical grinders that are formulaic and very typical Deicide, such as the “Crawled from the Shadows,” but they leave little more than a blemish on an intense collection of tracks. With few songs lasting more than three minutes, these sonic ambushes pack a wallop and leave an insatiable desire for more.
It has been what feels like a lifetime since Deicide last eviscerated listeners with an album, and Overtures of Blasphemy is certainly worthy of the wait. Blatant irreverence has never felt so good.
https://pan.baidu.com/s/1keU1DtDS71AElyV6G9_slA
