Deicide is a name universally recognized worldwide among death metal and metal fans, alike. They are one of the staples of the Florida death metal scene. Deicide was instrumental in pushing the boundaries of extreme music. The Amon demos, which reflected the band’s name at the time, conveyed an evil feeling rarely, if ever, presented in the history of music. In 1990, the band changed its name to Deicide, and released a polished version of the Amon demos, simply titled Deicide (note: the Amon demo versions were later released as the Amon: Feasting the Beast album). The following album, Legion proved to be the group’s breakout record. This album is undoubtedly the fan favorite, and is recognized as a classic death metal album.
Along with their speed, dark vibe, bluntly hateful lyrics and viscous onstage attack, the group has gained a large fan base due to its notorious actions and statements. Lead growler and low-end executioner Glen Benton sparked major headlines by branding an inverted cross into his forehead. His verbal feuds with King Diamond and the former editor of Metal Maniacs caused further controversy, even leading to Metal Maniacs declaring a brief boycott of the band.
After two decades, the band continues to rain down unholy curses. The near-twenty-year journey has not been without its trials, though. 2006’s The Stench of Redemption marked the first recording without the Hoffman brothers. Jack Owen of Cannibal Corpse fame and ex-Death and Iced Earth member Ralph Santolla replaced the muscle-bound duo on guitar. For the last year, Glen Benton has put a halt to the band’s touring because of personal problems. Regardless of these setbacks, the group is set to issue their ninth proper album Till Death Do Us Part on May 13th in the U.S. (and April 28th in Europe). Founding member and drummer, Steve Asheim spoke to Blistering on the phone about these setbacks and their forthcoming album.
Blistering.com: How do you feel about your forthcoming album Till Death Do Us Part?
Steve Asheim: I feel pretty stoked about it. There was a really high expectation on it because of Stench of Redemption. That album was highly regarded, as far as Deicide records are concerned. Trying to top that was a bit of a worry, but once we started rolling on Till Death Do Us Part, I wasn’t even thinking about Stench of Redemption anymore. Till Death Do Us Part almost wrote itself. The music was done in about three weeks, and then I thought, “This is gonna work just fine.” It was a little bit until vocals and leads came together, but once they did…This album is clearly up there with Stench of Redemption as far as quality, song writing and stuff like that. Stench of Redemption was maybe a little too melodic for most Deicide fans. Till Death Do Us Part tweaks that down, making it more disturbing, less melodic, and definitely more sinister sounding.
Blistering.com: How does this album compare to past recordings?
SA: If I were comparing it to the older stuff, I would say it’s a blend of Stench of Redemption and Legion. There are the bigger song-writing aspects that Stench of Redemption had, but going back to Legion, it has that dark vibe to the songs and the music. I think we were able to recapture that old school mood that was going on back then. It’s weird because people are always saying to Slayer, “Do another Reign in Blood, already!” With us it is like, “Do another record like Legion. That’s what we like.” I think this is about as close as we have come in years to recapturing the Legion vibe.
Blistering.com: I would definitely say that is your most popular album. I see more people wearing Legion t-shirts than any other album. That was your big one.
SA: It was the big one. At the time, we didn’t really know it. It was just another record. It was, I guess, our little peak we had going on back then. Looking back, it’s like, wow, that was the moment for us, but when you are in the middle of it you don’t realize it.
Blistering.com: Sometimes, albums become cult status long after they are finished, sometimes after a band is gone.
SA: That’s true. It seems like that is the case with Legion. It’s weird because I kind of find fault with that record, not with the tunes, but with the production. It was not a very good-sounding record. People I know who like it are like, “Dude, that record rules!” Then I say, “Dude, the production and the guitar is so thin,” but no one gives a shit. They listen to it, they get used to the sound; whatever, they don’t care. The sound is part of the vibe. I’ve always thought I would like to rerecord it and get a better sound, but that would almost ruin the vibe. What I got from it is the weird sound is part of the charm.
