For many music fans, in the world of death metal and other types of music, Satan, the representative of evil in Christianity, is an eternal theme. When people hear that a death band is possessed by evil spirits, they are usually skeptical and scoff, "Look, how stupid." However, Deicide, is more than just those typical death band rants about Satan. In their own words, Deicide is not some disgusting autopsy theory or horror movie-esque death metal band. They don't have black masks and artificial plasma running down their chins, and they don't have any brother-in-law. Special keyboard or string auxiliary to interpret their inherent dark and imprisoned status quo. No additives needed, they are Satan's guards.

Among the harsh melodies and music, no one could tolerate the wrath created by bassist and vocalist Glen, guitarists Eric and Brain Hoffman, and drummer Steve Asheim. Incubated in the fetid swamps of Florida in 1987, Deicide was rebuilt from Amon's ashes. In the war against Jehovah and their followers, vowing revenge on all Christians, Deicide never fell. Although they encountered opposition from radical Christians slapping themselves in the face, threats of violence, and even bomb threats, they never failed. Not letting anything stand in the way of his evil musical resurgence.

Out of their penchant for pure destructive rhythms, they had already recorded two song demos before signing with Roadrunner Records in 1990. Although these early works are nothing compared to the subsequent debut album, they proved with their inhuman cruelty that they would complete the exploration of hell fearlessly and without regrets. The band's debut album "Deicide" released in 1990 left an indelible dark mark on the history of death metal. While there's some intimidating chaos and the production's bass volume is slightly lacking, the band goes for an uncompromisingly authentic sound rather than emphasizing the importance of every note. This album combines the environmental tendencies of early death metal's original atavistic atonal music, with more customized structures gathered in complex harmonic layers that are as brilliant as thunder; the devastating light-speed guitar solo, emitted due to pain and depression A blasphemous scream. Deicide establishes an evil aesthetic that matches its ideology, emphasizing similarities between musical construction and exploration of postmodern anarchist philosophy through the free dispersion and recombination of notes, becoming a hopeless statement for ordinary composers. Glen roars out a voice from prehistory with a hoarse cough, a blasphemous exterminator, highly metaphorical lyrics about humanity and will in a selfless, indifferent world, and the rhythm of each passage is pursued and intensified to control the larger. energy. The extreme guitar sweeps over the fragmented notes, and the floating melody on the almost crazy high-speed vibrato flows through the bass's shattering heartstrings. In the realm of percussion, tap changes or skips a short section to achieve a smooth effect. Rough passages and dramatic violent vocals that are almost idiotic on the surface, or ethereal and schizophrenic guitar solos and heartbeats. Perhaps it is precisely because of these factors that Deicide's music is so alluring. All in an effort to liberate the imprisoned brains of cowards who create sounds that are almost obsessed with self-mutilation