Jump to content

Deicide


BlackFuckingMetal666

Recommended Posts

Listening to this now... the sound is good, the parts are ok but not special, the chorus is boring, the song as a whole doesn't go anywhere. If this had come out in the early nineties, it still wouldn't have been awesome. They are phoning it in. It's a shame. Oooh look! I'm posting in a Deicide thread and my post count is "666" but upside down! Even more evil!

Link to comment
Share on other sites

Re: Deicide

Sounds good. They started getting good on The Stench of Redemption. Their last few albums have been great death metal. Everything in between their first and Stench sucks horribly. I'll be getting this album.
I like Stench, but everything they did since (and a few before that album even) has been supremely dull and lame. After seeing them live, I can tell you that Glen is most definitely phoning it in, and other than Steve, the other dudes looked like they were going through the motions too. I'm also having a tough time believing that you like this track, as the level of boring repetition in it definitely reaches "play that same riff!" territory. Maybe if triplet riffs weren't used by every other death metal band on the planet with life behind them, then the opening riff wouldn't have been so bad, at least not the first 40 times they played it... Sent from my HTC PH39100 using Tapatalk 2
Link to comment
Share on other sites

The song had some good leads and melodies, but yeah the main riff sounded like a breakdown riff that would have been perfect for the middle of a song instead of repeating constantly. At least this album has decent art! Also... my band used that same sample on our EP in 2011. Suck it, Benton!

Link to comment
Share on other sites

I like Stench, but everything they did since (and a few before that album even) has been supremely dull and lame. After seeing them live, I can tell you that Glen is most definitely phoning it in, and other than Steve, the other dudes looked like they were going through the motions too. I'm also having a tough time believing that you like this track, as the level of boring repetition in it definitely reaches "play that same riff!" territory. Maybe if triplet riffs weren't used by every other death metal band on the planet with life behind them, then the opening riff wouldn't have been so bad, at least not the first 40 times they played it... Sent from my HTC PH39100 using Tapatalk 2
Believe it. It's good. Cope. And I've no problem believing they're phoning it it (minus Steve, I don't think he really has the luxury of phoning it in). Jack looked bored in Cannibal Corpse every time I saw them, but unfortunately for him that's where his fortune lies. He wants to play alternative but no one cares about it. Glen is probably burned out from a mixture of both the drama of his old band mates and life in the underground. He, like Jack, can't quit. They're institutionalized. It's not like they can go out and get regular jobs making livable wages with guitars/bassist/singer for ______ death metal band. It's probably very frustrating for them since they've obviously soured on this life style. They are a prime example of why investing your money wisely is so important.
Link to comment
Share on other sites

Re: Deicide

Believe it. It's good. Cope. And I've no problem believing they're phoning it it (minus Steve' date=' I don't think he really has the luxury of phoning it in). Jack looked bored in Cannibal Corpse every time I saw them, but unfortunately for him that's where his fortune lies. He wants to play alternative but no one cares about it. Glen is probably burned out from a mixture of both the drama of his old band mates and life in the underground. He, like Jack, can't quit. They're institutionalized. It's not like they can go out and get regular jobs making livable wages with guitars/bassist/singer for ______ death metal band. It's probably very frustrating for them since they've obviously soured on this life style. They are a prime example of why investing your money wisely is so important.[/quote'] As FA said, even if they had released that song in their heyday, it still wouldn't be any good. Their delivery lacking passion, cause, or even interest in what their doing only hurts it more. Pick up Stench and listen to what Deicide sounded like when Ralph Santolla breathed new life into them, only for it to be snuffed out again immediately after. No soul, no character, nothing that really even sounds like death metal. Sent from my HTC PH39100 using Tapatalk 2
Link to comment
Share on other sites

Re: Deicide

This song bears no resemblance to the Deicide I know. Ok so I'm essentially back to death metal noob status but still what the fuck happened to these guys?
I think Glen got lost with his head up his ass looking for more rhetoric. Legion was more vicious and technical than the debut (it's almost tech-death), and then Once Upon the Cross saw them dropping that for something more basic. It's still okay, but it foreshadowed their continuing downfall. The Stench of Redemption was done after the first lineup change in their entire band history, bringing in Ralph Santolla from Death and Iced Earth on Lead guitar and Jack Owen from Cannibal Corpse on rhythm. The riffs aren't the most exciting thing in the world, but they're really energetic and pair well with the fantastic leads. Glen also sounds like he got excited about death metal again on that album, but none of that magic lasted. I wouldn't call Stench better than their early stuff, but it was a great late period album, especially after the string of shit they had done. Sent from my HTC PH39100 using Tapatalk 2
Link to comment
Share on other sites

It's easy to generalize, but that's a complex question with lots of different answers, and it's by no means a universal problem. I think a lot of American death metal bands embraced pop rock song structures as they acquired more visibility, probably due to a combination of label pressure and their own desire for greater commercial success - because at the time, writing songs that fit into radio formats was a necessity for any kind of widespread play. In hindsight, they watered down their sound, but that's not how it felt at the time.

Link to comment
Share on other sites

Re: Deicide

It's easy to generalize' date=' but that's a complex question with lots of different answers, and it's by no means a universal problem. I think a lot of American death metal bands embraced pop rock song structures as they acquired more visibility, probably due to a combination of label pressure and their own desire for greater commercial success - because at the time, writing songs that fit into radio formats was a necessity for any kind of widespread play. In hindsight, they watered down their sound, but that's not how it felt at the time.[/quote'] Whereas most European death metal bands (especially in Scandinavia) broke up after 1-2 albums at most, or became grunge/pop/punk bands. Inspiration is not always an endless well, often times bands just run out of stuff to say. There are a lot of factors that play into it, but typically bands just want to keep doing what they love, and either lie to themselves by saying that they're still on the right track, or they just don't care. Sent from my HTC PH39100 using Tapatalk 2
Link to comment
Share on other sites

I was just thinking out loud there. Consistency seems to be a real sticking point for a great many bands. It's odd though because at the same time consistency isn't an issue for many bands as well. Death are very consistent, Melechesh are very consistent and Orphaned Land are fairly consistent in terms of quality just to name a few.

Link to comment
Share on other sites

As far as Death goes, funny story - they were noted for their stylistic inconsistency. People would say things like, "it's a Death album, you never know what you're going to get". People would rag on Chuck for "turning his back on thrash". Again, it's easy to look at it now and see a solid trajectory. I know you're talking about consistent quality, not stylistic choices.In a lot of cases they're almost mutually exclusive. I think bands have to be willing to keep pushing themselves to keep their music fresh and relevant, to themselves first out of anyone. Some writers (like Devin Townsend) find a set of themes that really work for them and keep, as he put it, "mining the veins" of those themes over the span of a few albums; others have to go all over the map for their inspiration. A lot of bands cave to internal or external pressure to stick with a sound that "worked" for them, once they have a career to maintain. Also, as BAN says, creativity is not a bottomless well. Some writers may only have one or two good albums in them, or may get tired of their original genre for whatever reason. And some collaborations that might be musically fertile are also personally volatile and unsustainable over the long term.

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


  • Join Metal Forum

    joinus-home.jpg

  • Our picks

    • Whichever tier of thrash metal you consigned Sacred Reich back in the 80's/90's they still had their moments.  "Ignorance" & "Surf Nicaragura" did a great job of establishing the band, whereas "The American Way" just got a little to comfortable and accessible (the title track grates nowadays) for my ears.  A couple more records better left forgotten about and then nothing for twenty three years.  2019 alone has now seen three releases from Phil Rind and co.  A live EP, a split EP with Iron Reagan and now a full length.

      Notable addition to the ranks for the current throng of releases is former Machine Head sticksman, Dave McClean.  Love or hate Machine Head, McClean is a more than capable drummer and his presence here is felt from the off with the opening and title track kicking things off with some real gusto.  'Divide & Conquer' and 'Salvation' muddle along nicely, never quite reaching any quality that would make my balls tingle but comfortable enough.  The looming build to 'Manifest Reality' delivers a real punch when the song starts proper.  Frenzied riffs and drums with shots of lead work to hold the interest.


      There's a problem already though (I know, I am such a fucking mood hoover).  I don't like Phil's vocals.  I never had if I am being honest.  The aggression to them seems a little forced even when they are at their best on tracks like 'Manifest Reality'.  When he tries to sing it just feels weak though ('Salvation') and tracks lose real punch.  Give him a riffy number such as 'Killing Machine' and he is fine with the Reich engine (probably a poor choice of phrase) up in sixth gear.  For every thrashy riff there's a fair share of rock edged, local bar act rhythm aplenty too.

      Let's not poo-poo proceedings though, because overall I actually enjoy "Awakening".  It is stacked full of catchy riffs that are sticky on the old ears.  Whilst not as raw as perhaps the - brilliant - artwork suggests with its black and white, tattoo flash sheet style design it is enjoyable enough.  Yes, 'Death Valley' & 'Something to Believe' have no place here, saved only by Arnett and Radziwill's lead work but 'Revolution' is a fucking 80's thrash heyday throwback to the extent that if you turn the TV on during it you might catch a new episode of Cheers!

      3/5
      • Reputation Points

      • 10 replies
    • I
      • Reputation Points

      • 2 replies
    • https://www.metalforum.com/blogs/entry/52-vltimas-something-wicked-marches-in/
      • Reputation Points

      • 3 replies

    • https://www.metalforum.com/blogs/entry/48-candlemass-the-door-to-doom/
      • Reputation Points

      • 2 replies
    • Full length number 19 from overkill certainly makes a splash in the energy stakes, I mean there's some modern thrash bands that are a good two decades younger than Overkill who can only hope to achieve the levels of spunk that New Jersey's finest produce here.  That in itself is an achievement, for a band of Overkill's stature and reputation to be able to still sound relevant four decades into their career is no mean feat.  Even in the albums weaker moments it never gets redundant and the energy levels remain high.  There's a real sense of a band in a state of some renewed vigour, helped in no small part by the addition of Jason Bittner on drums.  The former Flotsam & Jetsam skinsman is nothing short of superb throughout "The Wings of War" and seems to have squeezed a little extra out of the rest of his peers.

      The album kicks of with a great build to opening track "Last Man Standing" and for the first 4 tracks of the album the Overkill crew stomp, bash and groove their way to a solid level of consistency.  The lead work is of particular note and Blitz sounds as sneery and scathing as ever.  The album is well produced and mixed too with all parts of the thrash machine audible as the five piece hammer away at your skull with the usual blend of chugging riffs and infectious anthems.  


      There are weak moments as mentioned but they are more a victim of how good the strong tracks are.  In it's own right "Distortion" is a solid enough - if not slightly varied a journey from the last offering - but it just doesn't stand up well against a "Bat Shit Crazy" or a "Head of a Pin".  As the album draws to a close you get the increasing impression that the last few tracks are rescued really by some great solos and stomping skin work which is a shame because trimming of a couple of tracks may have made this less obvious. 

      4/5
      • Reputation Points

      • 4 replies
×
×
  • Create New...