There can not be a man left in Christendom who does not own or at least heard a Deicide album, and if there is; shame on you and more to the point where have you been since 1987? After all their self-titled debut and 1992′s “Legion” at the epicentre of the Florida Death Metal explosion, and with the self styled son of Satan Glen Benton whipping up a storm with statements of suicide and fire brands to the forehead the bands place in Death Metal history was always assured. Since those lofty days of the early 1990’s the bands fortunes have been mixed as have the quality of the post-“Legion” releases.

Much of what made "Till Death Do Us Part" such an a disappointing album has thankfully been addressed this time around; Benton appears to be over his (obviously) painful divorce and is back to his blasphemous best, turning his bile filled hateful lyrics back towards the big man upstairs. While the murky production that dogged "Till Death Do Us Part" has been replaced with a clean, almost razor sharp sound, which is testimony to Steve Asheim and Glen Benton who produced this time around.

Like all bands with such a long tenure it’s hard not to compare their new material with that of their older (classic) releases, and Deicide more than most have an abundance of classic material. If you are to think in terms of the bands discography “To Hell With God” is much akin to a jumbled mix of "Once Upon the Cross" meets "Serpents of the Light". Asheim’s drumming is once again mesmeric and thanks to the production each instrument can be heard to create a far more compact sounding delivery to each song. What makes “To Hell With God” a stand out Deicide album for me is the contribution of additional song writers, with Jack Owens chipping in with four songs. This verity provides some slower, catchy riff heavy moments which balance well with Asheim’s traditional break neck beats.

Hard as it is to select stand out tracks, for me just on the basis of the “old school” classic vibe “Angels of Hell” and “Into the Darkness You Go” live longer in the memory than any of the others. Not to say the rest of the album isn’t out of the top order, as it is. It’s hard to imagine that Deicide could surpass their work with the Hoffmann twins, but in Santolla and Owens Deicide have found two guitarists which understand the genre and where Deicide belong within it. This appears to have re-energised Benton and Asheim into new levels of savagery and given the band a new lease of life capable of producing material akin to anything that has gone before it.