Deicide

Deicide (1990)

The key to unlocking this album seems to be in understanding its structural approach; rather than free flowing narration (which we have come to expect from the best of music) this album employs a technique that I will tentatively dub compartmentalisation. Let me explain. On the surface Deicide sounds like a maelstrom of riffs (similar to riff-salad) that just do not fit together in any logical form. For instance, there are many abrupt changes and rash movements. But the secret lies in the fact that no one riff can stand alone from all of the others when looking at this album in a holistic fashion; there is no interchangeability (a common downfall in many poor quality works). 

It seems that Deicide have routinely broken up sections of songs into 'compartments' and intended them to fit together like a jigsaw puzzle. There is much conflict and tension between the individual parts. There is a certain "geometrical" undercurrent to this album in that there are well-defined motions to the point that it is obviously deliberately orchestrated. The result is a violent storm of blasphemy, idiosyncratically inhumane and otherworldly... almost like an orgy of demons. A vile rancour to the point that it becomes ritualistic like the best of Black Metal. 

It is so inherently chaotic that not many albums can compare. Other writers have noted the fact that the album opens and closes with the sound of a crypt or chamber being opened and closed. This sums the album up perfectly, it is like being locked into a dark, enclosed room with horrors dancing around and you laying dormant and witless not being able to see them. It not only invokes disgust, but its also fear inducing. Benton's vicious vocals act as a catalyst for the carnage, if you listen closely his inflexions almost act as a voice or gauge for the arrangements as a whole, if he changes pitch or tempo then the interplay between the two guitars seems to strangely follow suit. He is the occult leader amongst fearless demons. 

Perhaps the first word in extremity in terms of Death Metal; if not it certainly pushed the boundaries further into the land of the unknown.

Legion (1992)

Legion is a violent sonic assault; no more, no less. Rhythms are twisted and warped, an unstoppable maelstrom of pure aggression and mortal punishment. An unabating view into the demonic minds of beings that come from the netherworlds. Beyond words; beyond good and evil. Quite mechanical in aesthetic, largely due to the predominant theme being 'rhythmic intensity.' The Hoffman brothers see their finest moment, and create a maelstrom of Satanic imagery with their twin axes.