Release Date: May 13, 2008
Number Of Tracks: 10
It is the follow-up to 2006's The Stench of Redemption and promises to be Deicide's "most savage and aggressive [offering] to date," according to a press release.
Till Death Do Us Part
MHDrunk, on may 02, 2008 6 of 34 people found this review helpful
Sound: Two years ago, when people started saying things like 'return to form' about Deicide, I was a bit confused and so checked out the Stench Of Redemption. On Soulseek, I and a few others had taken a Limp Bizkit album and renamed it, advertising it as the new Deicide, but I hadn't actually heard it. Needless to say, when I did hear it I was disappointed and I think that moment truly awoke me to how retarded most modern death metal fans are. Anyway, I downloaded the latest, Till Death Do Us Part and unsurprisingly it is weak as piss, uninspired drivel that is a good 17 years behind it's time. Paraphrasing everything that could be wrong with death metal (with the exclusion of brutal and technical death metal) in one album, Deicide manage only to produce derivative, boring crap that no doubt the 'been-into-death-metal-for-2-weeks' wannabe-evil modern Deicide fans will lap up and compare to their older stuff (of which they've only heard 'Sacrificial Suicide' for 30 seconds through one faulty earphone). // 1
Lyrics: You can't praise Glen Benton's vocals: it's impossible. Throughout Deicide's career he's never conjured up images of Satan or dying angels, only of Down Syndrome sufferers and angry gorillas. While this vocal approach could be overlooked in the past in favour of the music, ever since Insineratehymn was put out the listener has been forced to pay attention to Benton's singing because the music itself has been so painful. And that, ladies (do women actually listen to Deicide) and gentelemen is the exact moment and way that Deicide went to complete shit. Don't expect any improvement in the vocals or lyrics department. // 1
Overall Impression: Morbid Angel reinvented themselves. Death changed their style completely. Failing to take advice from the other two, the third big Floridan death metal act decided to continue their style and before long they made the stupid mistake of relying solely on their gimmicky image once they ran out of riffs in 1998. Forcing most newcomes to the genre to almost completely write off Satanic death metal as a whole, Deicide pollute the scene, demean themselves and are the exact reason that death metal is laughed at by the mainstream. I know that the release of this was like Christmas for a lot of people and Deicide just filled their stockings with coal. They aren't helped out at all by their semi-evolved frontman singing like a downer and claiming to see bigfoot. If he had any intelligence whatsoever he'd realise how moronic he was but then again, if he had any intelligence at all we wouldn't have heard from Deicide since 1997. // 1
Till Death Do Us Part
UG Team, on may 07, 2008 3 of 4 people found this review helpful
Sound: Deicide's position as one of the most notorious death metal bands on the planet was not so much lost as sort of forgotten since the late 1990's. However, 2006's comeback 'The Stench Of Redemption' was a true return to form, wowing fans and critics alike. The first line-up change in Deicide history (the departure of the Hoffman brothers on guitar) really lit a fire under their asses, and the result was absolutely great. It's said that the 2nd album is always the hardest to make, but I think Deicide's peers Obituary have proven that the follow-up to a comeback is far more difficult. 'Till Death Do Us Part' almost makes it look easy.
The album begins with an aptly titled instrumental showing off the lead guitar wizardry of Ralph Santolla, who appears on 'Till Death Do Us Part' as only a session member, having left the band. There are still some absolutely blistering solos ('Worthless Misery' being a fine example) but generally the leads are toned down a fair bit, letting the riffs and vocals do the talking. The vocals of Glen Benton are quite a love-it-or-hate-it matter, but if you're a fan of his growls then his delivery here will impress you. In fact, this is quite applicable for the album as a whole. The riffs and drumming are fairly standard fare for Deicide, but that's by no means a bad thing. Founding member, drummer and principal songwriter Steve Asheim is still very impressive behind the kit, with the same pounding drum sound that the last few Deicide records have had. The sheer intensity of the drum takes are very impressive, a frantic blast accompanied by what sounds like several different fills at once, without once sounding lost. 'Angel Of Agony', in particular, is a true demonstration of Steve's ability on drums.
In fact, Asheim's recordings on this album are not just limited to drums as he is credited with lead and rhythm guitars as well. He, Santolla and Jack Owen (of Cannibal Corpse fame) all lay down very solid guitar tracks. The album has countless brutal Deicide riffs and a sizeable dosage of soaring leads, though the latter are not as plentiful with Santolla as only a session player. The sound of this album overall could be seen as a mixture of Deicide's 1992 classic 'Legion' and their newer, more punchy and melodic riff style. Of course, 16 years changes a band's sound a lot, and the production is most certainly very important to this. Even by early '90s standards, Deicide's first few albums didn't have great production, but since 'Scars Of The Crucifix' their tone and mixing has had a real punch to it. While 'Till Death Do Us Part' is still far more sonically 'in-your-face' than say, 'Serpents Of The Light', it doesn't quite have that aggressive power that their last two albums had. This is no complaint, though, as this is Deicide as Deicide is meant to sound: fast, heavy and unforgiving. // 8
Lyrics: The lyrics of Glen Benton are well known for being vehemently anti-Christian and as little as you may agree with his views, it is hard to deny that his lyrics are well done. He has retained that same dark language for over 20 years now, but with time and age his writing style has matured significantly since the days of 'Oblivious To Nothing'. In fact, this album contains quite a lot more than the standard blasphemy that Benton normally churns out. As the title (and, indeed, the horrendous artwork) may suggest, some of these songs have a dark twist on the marriage theme, and of course it's religious connotations. There are still some lyrically weak songs (Feeding off the excrement's of bible prophecy from 'In The Eyes Of God') but Benton's lyrical style certainly does not deserve to be bashed as much as it is by some people, no matter how controversial the subject matter is. // 7
Overall Impression: There is a definite sense of familiarity with 'Till Death Do Us Part'. Perhaps it is the fact that we are not hearing Santolla and Owen's fresh guitar styles for the first time this time around, but really this is quite a standard Deicide album. The riffs, the drumming and Glen's distinctive vocals are all there for the taking, but this album fails to have that massive impact that Deicide's previous record did. This isn't new or refreshing (though the 6 minute 'Horror In The Halls Of Stone', Deicide's longest song to date, most certainly is) and it doesn't masquerade as anything else, it's just a quality slab of death metal done the Deicide way.
If you have not been impressed by Deicide's work (even 'The Stench Of Redemption'), then this album isn't going to change your mind. That said, songs like 'Horror In The Halls Of Stone' and 'Not As Long As We Both Shall Live' really do sound like a band that has never stepped a foot wrong. // 8
Till Death Do Us Part
Guitarmike123, on may 10, 2008 0 of 0 people found this review helpful
Sound: After hearing The Stench of Redemption I didn't know what to expect from this album. It was promised to be some kind of hybrid between Legion and TSOR. I was a bit sceptical to this since albums being compared to old classics tend to get a bit overhyped. But I decided to be open minded and give it a fair chance. Well, to the music: the album starts with an intro that is about as un-Deicide as possible, which had me worried for a while. The rest of the songs are more interesting. They are more agressive than any of the songs on TSOR. Though I get the feeling that something's missing when listening through the album. Something about the songwriting sounds a bit uninspired, almost like it's going on routine. But I guess you can't expect them to have the same agression and energy as they did almost 20 years ago. The guitarsound is somewhere around the average line. One thing that always amazed me was how the Hoffman brothers playing always sounded really "tight". There are some really cool riffs here, but Jack Owen and Ralph Santolla simply can't achieve the "tightness" of the Hoffman brothers. If this is due to production or some other reason is left untold. I can add that the melodic solos of TSOR are almost absent, possibly due to Ralph Santolla having less input. So for those who expect that, I suggest to look elsewhere. The drumming is one of the highlights of this album. I dare to say that this is probably Asheim's best performance yet. Triggered or not his drumming sounds great, I also like the production on them more than most of their recent albums. Powerful and tight is words that comes to mind. // 5
Lyrics: The vocals are nowhere his best, I guess age and years on the road has taken it's toll. Though they aren't horrible and definitely showing improvement since TSOR, his voice sounds a bit more brutal. Another good thing is that they didn't go crazy with the multilayering of highs and lows like the did last time. As far as the lyrics go, I wouldn't call this album a masterpiece. Though I never tend to bother about the lyrical content when it comes to death metal anyway. Let's just say that there are lyrics in death metal far more poorly written then those of Benton. // 5
Overall Impression: This album is, as mentioned before, more brutal then TSOR, and it's kind of obvious that they've taken the masterpiece Legion as a source of inspiration. It is a step in the right direction, but not the huge leap I expected. About half of the songs on the album is average, the other half is decent to good. No outstanding songs that you will remember though. This album proves that Deicide is still capable of making aggressive death metal. Though I can't quite get rid of the feeling that this is a filler album. I guess the next album they release will tell if they still are in the game. So in conclusion: they have done better in the past, but they have also done worse. Some will like it, others will hate it. To me, it's decent. // 6
Till Death Do Us Part
The Evil Hat, on may 15, 2008 0 of 0 people found this review helpful
Sound: The Stench of Redemption split most Deicide fans into two camps. There was the group that hated everything since Legion, and the group that though Stench was actually a good album. I fell into the latter group. Songs like Homage for Satan and Walk With the Devil in Dreams You Behold seemed like a return to form for the once great band. I awaited their newest album with rabid excitement. They published the cover artwork a short while before the release, and I remember thinking, This has to be a joke, it really is that bad. Still, cover art doesn't make or break an album. The album came out and I began to listen eagerly. After my first lesson I was disappointed. Nothing had leapt out at me. I resolved to hold off my judgment until the album got a fair chance. Over the next few days I played the album repeatedly, and it never improved. This album has no bad parts. There is nothing that makes you go, What were they thinking? (Besides the cover art, at least) But while the album has no bad parts, it also has (almost) no good parts. It simply exists, neither positive nor negative, neither enjoyable nor repulsive. For the most part, the guitars bass and drums are in the background. Yes, they are playing a riff, but not once in the album is it a very interesting riff. They will usually do their own thing for a bit in the beginning, have a repetitive riff or two for the remainder, and then close the song. Quite a few of the riffs are technical, but that doesn't make them good. They aren't technical in the Origin or Necrophagist way of, How the f--k did they do that? Nor are they technical in the Look mommy, I can play really fast! way that Brain Drill is. The technicality, like the riffs seems to simply fade into the background. // 4
Lyrics: If the riffs are so boring and bland, why the hell did I give this album a 50, rather than say, a 20? Well, for once, the vocals save the day. A lot of people seem to hate Glen Benton's growls. If that description applies to you, leave now. You will hate this album. Once a song is established, he never shuts up. For once, a vocalist that doesn't know when to shut his mouth aids an album. All of the energy in this album comes from the vocals. While the guitars and drums seem content to sit in the background, the vocals are roaring ahead at full speed. // 8
Overall Impression: In conclusion, this album was a huge disappointment for me. Especially when compared to Deicide classics like Deicide or Legion it fails to hold up at all. It has it's moments where it manages to get off the ground, but the only song that I would actually classify as good is Not as Long as We Both Shall Live. On the whole, if you love Deicide, buy it. Just don't expect another classic. If you're new to the band, check out their early albums. If you hate Deicide, stay away. This won't change your mind. // 5