“Till Death Do Us Part,” released in 2008 by Earache Records, is Deicide’s ninth studio album and marks a return to their classic death metal sound with a focus on anti-Christian themes and unrelenting brutality. The album features a lineup of Glen Benton, Steve Asheim, Ralph Santolla (session), and Jack Owen, and was produced by Asheim at Morrisound Studios. It is notable for being Deicide’s longest studio album and for Santolla’s final appearance on a Deicide record.
Album length: 42:07
Death metal
April 28, 2008
Earache Records
October – December 2007
Morrisound Studios (Tampa, Florida)
Steve Asheim
Anti-Christianity and Blasphemy: Deicide has never been shy about their disdain for organized religion, and this album is no exception. Expect plenty of vitriol directed towards Christianity, Jesus, and God, all wrapped in graphic and violent imagery.
Death and Violence: This wouldn’t be a death metal album without a healthy dose of gore and brutality. The lyrics revel in depictions of death, dismemberment, and suffering, often with a sadistic edge.
Misanthropy and Nihilism: Deicide’s worldview is bleak and cynical, with a strong undercurrent of hatred for humanity and a belief in the futility of existence. The lyrics often express a desire for destruction and chaos, reflecting a deep sense of disillusionment and despair.
Occult and Satanic Themes: While not always explicitly Satanic, the lyrics often draw on occult imagery and symbolism, suggesting a fascination with the darker side of spirituality and a rejection of conventional morality.
Personal Torment and Suffering: Amidst all the anger and hatred, there’s also a sense of personal anguish and torment in the lyrics. The songs touch on themes of inner turmoil, emotional pain, and the struggle to find meaning in a meaningless world.
Relentless Aggression: This album is a sonic assault from start to finish. The fast tempos, pummeling drums, and razor-sharp riffs create a constant barrage of aggression that rarely lets up. Prepare for a visceral and adrenaline-fueled experience.
Dark and Ominous Atmosphere: The music is not just aggressive, it’s also incredibly dark and unsettling. The dissonant harmonies, sinister melodies, and Benton’s guttural vocals create a sense of impending doom and chaos that permeates the entire album.
Technical Proficiency and Intensity: While the music is raw and brutal, it’s also surprisingly technical. The musicianship is top-notch, with intricate guitar work and complex song structures that add depth and intensity to the overall sound.
Unrelenting Brutality: This is not an album for the faint of heart. The music is unapologetically brutal, with blast beats, tremolo picking, and guttural vocals that will leave you feeling battered and bruised.
Occasional Melodic Touches: While the album is predominantly aggressive, there are occasional moments of melody that add a touch of contrast and dynamism. These melodic elements are often fleeting, but they serve to enhance the overall impact of the music.
Steve Asheim’s Multi-Instrumental Role: Drummer Steve Asheim took on a more prominent role in this album, not only playing drums but also recording guitars on several tracks.
Longest Deicide Album: “Till Death Do Us Part” is Deicide’s longest studio album, clocking in at 42 minutes.
“Glen Benton for President” Campaign: The album’s initial release included a sew-on patch with the phrase “Glen Benton for President.” While not a serious political campaign, it became a popular slogan among fans and added to the album’s rebellious spirit.
Deicide’s 1990 self-titled debut album is a seminal death metal release known for its speed, aggressive vocals, and anti-religious themes. It was recorded at Morrisound Recording and became a controversial but influential work in the genre.
Deicide’s second album, “Legion” (1992), is a death metal album recorded at Morrisound Recording and produced by Scott Burns. The album features complex riffs, abrupt tempo changes, and anti-religious themes.
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“In Torment in Hell” is Deicide’s 2001 studio album, released by Roadrunner Records. Known for its raw sound and anti-Christian lyrics, the album features the band’s classic lineup and continues their tradition of anti-Christian themes.
Deicide’s “Scars of the Crucifix” is a sonic assault of pure aggression and anti-religious fury. This 2004 death metal album, the last with the Hoffman brothers on guitar, is a relentless barrage of blast beats, guttural vocals, and blasphemous lyrics.
Deicide’s 2006 album, “The Stench of Redemption,” released on Earache Records, features a new lineup and showcases a technical, aggressive death metal sound with blasphemous lyrics.
Deicide’s 2008 album, “Till Death Do Us Part,” is a brutal return to their classic death metal sound, featuring anti-Christian themes and intense musicianship.
Deicide’s 2011 album, “To Hell with God,” is a relentless and blasphemous death metal assault. It features their trademark aggressive sound, with fast tempos, pummeling drums, and razor-sharp riffs. Lyrically, the album continues their well-established anti-religious themes.
Deicide’s 2013 album “In the Minds of Evil”, their eleventh, features aggressive death metal and blasphemous lyrics exploring anti-religion, darkness, and violence.
Deicide’s 2018 album “Overtures of Blasphemy,” produced by Jason Suecof, is a relentless death metal assault showcasing their signature anti-religious themes and aggressive sound.
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