Year of release: 2018
Released by: Century Media Records
Rating: 6,7 / 10
So came that mournful day, when another unshakable bastion surrendered. In the long history of my love for DEICIDE, we've had quarrels. I did not understand "Serpents of the Light" right away, I had time to fall in love and fall out of love with "Insineratehymn", I still have not worked out an unambiguous attitude to "In Torment in Hell". But even these albums, far from being the best, have something in themselves for which they should be listened and respected. On the spiritual level, DEICIDE has long been caked: Benton's aggressive atheism, which he gives out for Satanism, tramples on the spot, it's better to keep silent about the views of other participants. Nobody hides the fact that the band is just a job for them guys, which they are engaged only because this is the best option for their lives. However, they repeatedly managed to issue exclusively malicious and biting albums, each of which had its own character. The first hint of pre-retirement fatigue appeared only in 2013 on "In the Minds of Evil", which was suspiciously similar to its predecessor. "Overtures of Blasphemy" strengthens in confidence: the band has nothing more to say.
The main problem of the album is immediately noticeable. In extreme metal there are two main types of musicians: fot the first it is important what they want to say with their music, and others are only interested in how to play it. Mark English, part-time working in MONSTROSITY, refers to the second type. And this is extremely unfortunate. The new album of MONSTROSITY, already quite soft, is finally ruined by his melodic solutions. In the new DEICIDE situation is alike. Its foundation is pretty similar (if not to say exactly the same) riffs that you've heard on two previous albums: hard, short, adjusted to simple rhythms. While they were performed by Quirion / Santolla and Owen, it worked. Kevin and Jack are guitarists of this exact style, and Santolla could play anything at all. With English everything is different: e plentifully plasters riffs of Steve, the permanent composer DEICIDE, with his characteristic melodies and solos. Perhaps, if the band decided to make the second "The Stench of Redemption", it would work. The masterpiece of 2006 was melodic, not only superficially, but at the heart, reminiscent of not the sugar syrup, but the dazzling flame of Hell. But the core of the "Overtures of Blasphemy" is the permanent post-Slayer deadly structures, and these melodies here look the same as the pink ears on the black panther. There are also separate tracks that have not been touched by this filth: "Excommunicated", for example. But most of them are irretrievably damaged. The last indisputable merit of DEICIDE - music with balls - has sunk into oblivion. The band can offer almost nothing now: the texts in the majority are self-plagiarism. But with the mouth of Benton still The Great Beast growls - something in this world still remains unchanged. And the design, no doubt, is beyond praise. This is, perhaps, all. The result is sad: DEICIDE's worst album in post-Hoffmans era and one of the worst in the discography at all.