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Home » 🔥🐐 DEICIDE – DEATH METAL’S BLASPHEMOUS BLUDGEONERS

🔥🐐 DEICIDE – DEATH METAL’S BLASPHEMOUS BLUDGEONERS

Michael by Michael
6 July 2024
in Band Bios
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Alright sinners, heretics, and blastbeat worshippers – grab your inverted crosses and prepare to be sonically exorcised. Because today we dive headfirst into the flaming, furious abyss that is DEICIDE – the band that made anti-Christian rage a full-time, full-volume career. 🤘🔥📿

They didn’t just push boundaries – they carved them into the flesh, torched the rulebook, and screamed in Satan’s key while doing it.


😈 DEICIDE – WHERE RELIGION GOES TO DIE SCREAMING

Genre: Death Metal / Blasphemous Fury / Florida Man Screams at Church
Formed: 1987 (as Amon) – Tampa, Florida, USA 🇺🇸
Known For: Blastbeats, satanic shock tactics, brutal riffs, and Glen Benton branding an inverted cross into his forehead. Yeah, that happened.


🩸 WHO THE HELL ARE DEICIDE?

Born from the sweaty swamps of Florida’s death metal explosion, Deicide emerged from the ashes of Amon in 1987, armed with anti-religious fury, savage riffage, and an unholy desire to offend absolutely everyone.

Led by Glen Benton – bassist, vocalist, and walking headline generator – Deicide became infamous for:

  • Snarling, demonic vocals
  • Lightning-fast riffing
  • Satanic imagery turned up to 11
  • And some of the tightest, most punishing death metal ever recorded.

Love ‘em or loathe ‘em – you FEEL Deicide.
Usually in your chest. From the double kick.


🩸 CLASSIC LINE-UP (The Unholy Quartet)

  • Glen Benton – Bass & Vocals / Death metal’s most iconic growl + frontman of fury
  • Steve Asheim – Drums / Blastbeat machine with technical firepower
  • Eric Hoffman – Guitar / Evil riff conjurer, twin shredder
  • Brian Hoffman – Guitar / The other half of the hurricane

The Hoffman brothers left in 2004, but Glen and Steve have kept the Deicide beast thrashing through Hell with various hired guns ever since.


💿 DISCOGRAPHY – UNHOLY AND UNSTOPPABLE 🐐🔥


☠️ Deicide (1990)

🎧 Lunatic of God’s Creation, Sacrificial Suicide
Vibe: Brutal debut. Pure hellfire.
Riff Rating: 🔥🔥🔥🔥🔥
*Set the template: fast, furious, anti-everything.


🧨 Legion (1992)

🎧 Satan Spawn, the Caco-Daemon, Dead But Dreaming
Vibe: Technical, twisted, terrifying.
Riff Rating: 🔥🔥🔥🔥🔥🔥
*Arguably their best – complex and savage as hell.


🔥 Once Upon the Cross (1995)

🎧 They Are the Children of the Underworld, Once Upon the Cross
Vibe: Short, sharp, sacrilegious.
Riff Rating: 🔥🔥🔥🔥
Iconic cover: Jesus dissected. Your nan wouldn’t approve.**


🩸 Serpents of the Light (1997)

🎧 Serpents of the Light, Blame It On God
Vibe: Groovier, hookier, still hateful.
Riff Rating: 🔥🔥🔥🔥
*More accessible… but still bludgeoning.


🕱 Insineratehymn (2000)

🎧 Bible Basher, Forever Hate You
Vibe: Mid-paced, moody, blasphemy turned brooding.
Riff Rating: 🔥🔥🔥
*Bit of a curveball, but some serious grooves.


🩻 In Torment in Hell (2001)

🎧 Vengeance Will Be Mine, Worry in the House of Thieves
Vibe: Rushed, raw, but still mean.
Riff Rating: 🔥🔥
*Not their best, but still full of spite.


🔪 Scars of the Crucifix (2004)

🎧 Scars of the Crucifix, Mad at God
Vibe: Comeback with claws. Fierce and focused.
Riff Rating: 🔥🔥🔥🔥
*Welcome return to blistering form.


🧠 The Stench of Redemption (2006)

🎧 Death to Jesus, Homage for Satan
Vibe: Melodic solos meet feral riffs. Underrated classic.
Riff Rating: 🔥🔥🔥🔥🔥
*One of their strongest albums. Absolute shredfest.


🔥 Till Death Do Us Part (2008)

🎧 Horror in the Halls of Stone, Not As Long As We Both Shall Live
Vibe: Dense and dark. Less immediate, more evil.
Riff Rating: 🔥🔥🔥
*Harder to digest, but full of gloom.


🩸 To Hell With God (2011)

🎧 Hang in Agony Until You’re Dead, How Can You Call Yourself a God
Vibe: Classic fury with a modern edge.
Riff Rating: 🔥🔥🔥🔥
*Riff-heavy return to old-school brutality.


😈 In the Minds of Evil (2013)

🎧 Thou Begone, Trample the Cross
Vibe: Angrier, sharper, and groovier than expected.
Riff Rating: 🔥🔥🔥🔥
*Great production. Benton sounds possessed.


🔥 Overtures of Blasphemy (2018)

🎧 Excommunicated, Seal the Tomb Below
Vibe: Still raging, still relevant, still riffing hard.
Riff Rating: 🔥🔥🔥🔥
*Glen still growling like a demon in a dogfight.


💥 Banished by Sin (2024)

🎧 Sever the Tongue, Woke from God
Vibe: Latest record – fast, furious, and utterly filthy.
Riff Rating: 🔥🔥🔥🔥
*Deicide in 2024 = still no chill.


🎧 THE RIFF REPORT’S BLASPHEMOUS BANGERS

🎸 Satan Spawn, the Caco-Daemon – Unholy tech perfection.
🎸 Scars of the Crucifix – Modern death metal anthem.
🎸 Homage for Satan – Blasphemy with groove.
🎸 Bible Basher – Title says it all.
🎸 Excommunicated – Death metal juggernaut.


🔥 WHY DEICIDE STILL BRING THE INFERNO:

Because they:

  • Made death metal truly scary again
  • Refused to go soft – even when trends shifted
  • Were louder than their controversies (which is saying something)
  • Defined anti-religious metal
  • Wrote riffs and choruses that STILL punch holes in pews

And because Glen Benton will always be death metal’s most chaotic uncle.


🎤 FINAL VERDICT FROM THE RIFF REPORT:

**Deicide are the embodiment of extreme metal rage.
They’ve *blasted through churches, stages, and expectations for over three decades.

Want death metal with zero compromise?
Want blastbeats baptized in bile?
Want an album cover that’ll get you banned from your nan’s house?

Then DEICIDE is your blasphemous soundtrack. Accept no substitutes. 🩸☠️🔥

Previous Post

😈 DEICIDE – WHERE RELIGION GOES TO DIE SCREAMING

Next Post

⚔️🔥 TESTAMENT – THE BAY AREA’S UNSUNG THRASH TITANS

Michael

Michael

🎸 About Michael Michael is the founder, editor and chief riff wrangler of The Riff Report, an independent Welsh rock, metal and alternative music publication built by fans, for fans. A lifelong rock and metal fan, Michael has spent years immersed in the music, culture and community that surround the heavier side of life. From discovering new bands and digging through classic albums to standing in muddy festival fields, squeezing into packed venues and spending far too much time near the front of a stage, music has always been much more than background noise — it is a massive part of who he is. That passion eventually became The Riff Report, a publication created to celebrate the bands, artists, venues, festivals, photographers, promoters and fans who keep the rock and metal world turning. Michael spends much of the year covering gigs, festivals, tours, album releases, new singles, interviews and music news, with a camera never too far away and a press pass usually hanging somewhere around his neck. Whether it is a huge arena show, a major outdoor festival or a tiny grassroots venue packed with people discovering their new favourite band, he believes every part of the scene has stories worth telling. For Michael, one of the biggest joys of music journalism is being able to shine a light on artists at every level. The Riff Report is just as interested in the hungry independent band playing to 50 people as it is in the global act headlining to 50,000. Supporting unsigned, independent and grassroots musicians is a huge part of the publication’s identity, because every legendary band started somewhere. Sometimes the next big thing is not on a massive billboard or a major-label playlist — sometimes they are crammed onto a tiny stage in a pub, plugging in their own gear and hoping somebody in the room remembers their name. Michael wants The Riff Report to be one of the places that remembers.

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