Audience-Alienating Era: Insineratehymn and In Torment in Hell are pretty much universally considered to be this by the fanbase, and a lot of fans tend to lump Scars of the Crucifix in as well. Whether they temporarily exited this with The Stench of Redemption or stayed here until In the Minds of Evil really seems to depend on the fan and is entirely based around their opinion on Ralph Santolla; that being said, most fans are of the opinion that the two post-Stench Santolla albums just aren't very good. The band seems to be in agreement when it comes to Till Death Do Us Part, as they haven't played anything off the album in years and have more or less admitted that they half-assed it just to deliver a final album for Earache and get out of a shitty contract.
Broken Base: The fanbase in general over various things, but their opinion of Ralph Santolla is equally divided. He was either the best lead guitarist they ever had and one who brought exciting new twists to their sound, or he was completely out-of-place and did nothing but overplay and turn every song into a guitar wank showcase.
Contested Sequel: Just about every album post Serpents of the Light, though The Stench of Redemption is generally well-liked and In the Minds of Evil also has its fair share of fans, and while Overtures of Blasphemy may not have completely united the fanbase, general consensus is that it's at least as good as The Stench of Redemption, if not better.
First Installment Wins: The self-titled debut and, to a lesser extent, follow-up album Legion are the only Deicide records that are regarded as classics, while many of the followups being So Okay, It's Average or heavily dated. Both albums are also among the best-selling death metal albums according to Nielsen SoundScan with Deicide believed to be the best-selling death metal album ever as the album's sales prior to March 1st, 1991 were not reported by SoundScan. It's estimated that the missing sales for Deicide are bigger than the ones provided by SoundScan.
Narm: A very common criticism directed at Benton's lyrics, which have never really progressed beyond "fuck religion and fuck God too" in the 33 years that the band has been around (this is counting when they went by the "Amon" moniker as well). This also applies to Benton having an inverted cross scar on his forehead from the amount of times he burned it.
Narm Charm: The video for "Conviction" is a crude claymation of Benton chasing after Jesus and dragging him down to Hell. And it's glorious.
Like Allen West and his post-Obituary/Six Feet Under life, Eric Hoffman's post-Deicide life has become one giant string of these. Filing a frivolous lawsuit over royalties that he was supposedly owed that was dropped when his lawyer relieved himself of the case after Steve Asheim produced a video during discovery that proved that Hoffman had no grounds to sue at all? Check. Repeatedly making empty threats against Benton and Asheim for over ten years? Check. Charging people to view a music video for one Amon song after he got the name back and got a new lineup? Check. Verbally abusing and blocking fans on Facebook who gave constructive criticism regarding song titles and lyrics after asking for advice? Check. Having a massive falling-out with Brian and then going back and forth between pretending that Brian was still in Amon (when he quit in 2011) and vilifying him? Check. Suing labels for selling Amon albums after he had legally given them the rights to do so? Check. To be fair, the man is clearly not right in the head, but his antics have become the stuff of legend and "Eric Hoffman" is fast becoming shorthand in the metal community for deranged, delusional behavior.
Glen's inverted cross scar on his forehead can now be seen as being edgy and if one wants to go even further, his backtracking on wanting to commit suicide at the age of 33 to coincide to the age of death for Jesus Christ.
Squick: Back when they were known as Carnage (which was comprised of the Hoffman brothers and Asheim), they had a notoriously over-the-top stage show that, among other things, involved filling up hollowed-out mannequins with rotten offal that they got from butchers. This, predictably, resulted in some interesting scenarios, namely an early show with Morbid Angel (who had pit bulls around as part of their stage show at that time) that resulted in the dogs messily devouring the meat after one of the Hoffmans smashed the mannequin; according to Brian, they had left the meat sitting out all day in the hot Florida sun and the stench was absolutely mindblowing by the time they hit the stage. After an incident where the meat mannequin made such a mess that they got a venue closed down, Carnage essentially became Persona Non Grata in the Tampa Bay area for a while, and the band had to sign a contract when they first got signed to Roadrunner stating that they would never, ever bring out the mannequin again for live appearances.
Win Back the Crowd: In the Minds of Evil was overall better received than the previous two albums before it, and the fans who weren't won over by it were largely won over by Overtures of Blasphemy, which has been lauded as the best album since at least The Stench of Redemption, if not Serpents of the Light.
is a crude claymation of Benton chasing after Jesus and dragging him down to Hell. And it's glorious.