Spite­ful and Bit­ter




Over­tures of Blas­phemy

De­i­cide have writ­ten some of the most im­por­tant al­bums in ex­treme metal his­tory and con­tin­ued to cre­ate in­trigu­ing ones through­out their three decades. Un­for­tu­nately, Over­tures of Blas­phemy is a sore spot on an oth­er­wise strong track record. The al­bum be­gins on an un­der­whelm­ing and largely for­get­table note with “One With Satan,” which feels like the band go­ing through the mo­tions. A black metal riff here, a blast beat there, maybe throw in a chug­ging down-tempo mo­ment and there you have it: a new De­i­cide track.

There are a few great mo­ments, such as the down­picked riff­ing on “Seal the Tomb Be­low” or the thrashy in­tro on “Cru­ci­fied Soul of Sal­va­tion,” but even these songs are even­tu­ally sul­lied by lazy writ­ing. It’s as if the band found great start­ing points and couldn’t fig­ure out how to fully flesh them out, opt­ing in­stead to copy-and-paste black metal riffs into the record and cover their slop­pi­ness

garage sound, while the ti­tle track’s pound­ing beats aim for pure techno. We Share Our Blood is a poised, mo­men­tous for­ward leap for Ouri, who from here on in should widely be con­sid­ered one of elec­tronic mu­sic’s ris­ing stars. (Make It Rain, just­makeitrain.com) METAL Cage. with rip­ping gui­tar so­los. While the band are more than ca­pa­ble of writ­ing killer death metal tracks, Over­tures of Blas­phemy feels like a phoned-in ef­fort in com­par­i­son to their last few al­bums. (Cen­tury Me­dia)

You’ve said you thought you’d get more mel­low but what you’ve been through has dark­ened your soul. What do you mean?

Vo­cal­ist/bassist Glen Ben­ton: I’ve been through just about ev­ery emo­tional fuck­ing thing that a per­son can go through, and the older you get, I can hon­estly say, the more spite­ful and bit­ter you be­come. The older I get, the more I want to just shove it up every­body’s ass.

Did you ever mail fore­head scabs to some­one who pissed you off?

I’ve never mailed any scabs. I would eat the scabs; I wouldn’t mail them. and tex­tures, the va­ri­ety of the ar­range­ments and the thought­ful song com­po­si­tions by mas­ter­mind gui­tarist and pri­mary song­writer Scott Hull that make Head Cage stand out. (Re­lapse, re­lapse.com) MOD­ERN COM­PO­SI­TION

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