Deicide
Till Death Do Us Part

The confirmation of a new, surprising cycle, or yet another flop?

The question arises spontaneously and the answer seems now obvious.

Deicide, a seminal band in the extreme metal scene, release their new album after that little gem of sonic violence that was "The Stench of Redemption." The new album, titled "Till Death Do Us Part," seems like déjà vu of past situations when Deicide were capable of releasing albums of enormous quality like "Legion," alternated with spectacular failures like the ridiculous "Insineratehymn" or the worst "In Torment, in Hell."

Fortunately, Benton and company managed to get back up again, first with "Scars of the Crucifix" and then with the aforementioned "The Stench of Redemption," which was indeed a kind of revolution: more melody, more epicness in the solos, also thanks to the magnificent work of Santolla (axeman now with Obituary) and Jack Owen, ex-Cannibal Corpse.

Now I have this new work in my hands. Apart from the cover, which fascinates with its artistic and pictorial sense (it is indeed a real painting), the music seems to be a significant step back, especially considering this album was announced as a return to the violence of "Legion" and especially because the minds are the same that produced songs like "Crucified for the Innocence" or "Homage for Satan." We are faced with an album enjoyable for the few noteworthy ideas, few successful riffs, and few commendable tracks, only to delve into music and songs that make monotony and repetitiveness their point of (non)strength.

I will start with the shaky elements of an album poorly executed at 70%, starting from certain ideas that serve more to fill the album and make it seem like a decently timed album, like the continuous use of instrumental intros that contribute little to the economy of the songs. The song scheme that permeates the entire album is erroneous and predictable: the tracks present themselves with slow and cadenced rhythms, with riffs repeated to exhaustion and boredom, with Santolla's melodic solos which, in all honesty, are less decisive than in the past, leaving the overall quality of the tracks unchanged, which remains barely satisfactory. There are few moments that seem to recall the glories and talent of such a historic band, I am talking about the title track, a 100% successful episode, and the two accelerations of "Horror in the Halls of Stone" and "Angel of Agony."

What remains of the album is the sensation of incompleteness and half disappointment. After all, I do not expect anything else from a band whose frontman is a former extreme metal hero, more occupied with his private life than his work, and who leaves the entire composition task to drummer Asheim. A band that no longer even cares about promotion, not even in live settings, perhaps the most important aspect for any respected musician.

An album exclusively made in the recording studio and not to be played live, this is the first point.
The second point is what it represents: a frightening sign that the toy might break (or perhaps it’s already broken), without any motives or stimuli that could make Deicide a musical machine worthy of note.

Waiting for the next work, if it ever sees the light, I judge this "Till Death Do Us Part" as the new, umpteenth disappointment from the Deicide four.