1. The fade-in is reminiscent of the 7th Danzig opus... until the undeniable Deicide riffing commences. Multi-layered screaming gives way to Benton’s multi-layered vocals of old. Killer. This is a blistering mind-fuck that could’ve appeared on Serpents of the Light if that record wasn’t so upbeat. This sounds like a band inspired. The lead guitars are fluid as always, albeit necessarily derivative of any other Deicide lead you may have heard from Eric Hoffman.

2. Stop-and-start, call-and-answer riffing and drum patterns open this track. Ultra guttural Glen is in full effect for this swirl of palm-muted picking. The chorus treats us to the multi-tracked vocals again which are quite effective. The lead on this one is beautiful. The technicality is immense. I cannot even imagine playing so fast and so controlled. This is a testament to the band’s meticulous nature.

3. The intro to this song sounds like it did come from Serpents of the Light. Then another of Eric Hoffman’s noodly lead breaks gives way to a percussive riff with barked vocals. Finally, the other Hoffman speaks. The Kerry King-esque squeal is the first indication that this is Brian’s lead work. Great song with great guitars. The roar of Glen’s voice is backed up by otherworldy shrieking that really sets the blasphemous mood. The terminal lead by Brian also sounds like Slayer influenced it, but Jeff Hanneman was the inspiration this time around.

4. Percussive, bludgeoning mayhem is unfurled. There is a strange vocal effect that sounds like very high pitched squeaking, almost. It’s in unison with the main vocal delivery and is somewhat distracting if not detracting from the song. Maybe it’s the computer speakers, but I doubt it. Nope, not the speakers.

5. A very brief bit of processed vocals introduces this song and then Steve Asheim sounds as if his arms are gonna break he’s playing so fast. Wow. This guy is impressive on the record but maybe you’re not convinced that he really plays like this. Let me reassure you that live it appears that his kit will simply fall off the drum riser because of the chaos and fury that is channeled in his four limbs.

6. The initial drum production on this track sounds strange. Particularly for one drum, though I don’t know what the draw for this sound is. It’s gotta be the snare. Anyhow, the leads on this song are overly drawn from the Serpents of the Light bank. I guess that’s Eric’s thing just like Zakk Wylde loves his pinch harmonics.

7. This could be the best song on the record. A whirling dervish of riffing and drumming confuses you and then an unearthly roar consumes you. The militaristic barked vocal patterns are quite effective, particularly when separated by the trademark roar. At times this band’s back catalog is clearly invoked, but what do you want from the “AC/DC [or Slayer] of Death Metal”? Killer.

8. The intro drum patterns are perhaps a new thing for Asheim. Maybe I’ve heard this type of thing before from Deicide, but somehow I doubt it. Very cool, though. The squeaky, high pitched vocal style from the 4th song is back. I don’t like it. Good thing it won’t translate in the live setting. A killer lead from Brian is followed by one of Eric’s more inspired runs on this album.

9. The final track is upon us and it seems like this record just started. Good stuff, even though it definitely ain’t anything new. The song itself hearkens back to a slow(er) moment from Once Upon the Cross but is very solid. The musicianship is ever so tight. It really is amazing that four separate individuals make playing together sound so easy and good. It’s like those boneless chickens from Pilgrim’s Pride -- mind-boggling.

10. There really isn’t a 10th track, but after a ~7 second gap, there’s more to this album. A similar sound to the album lead-in that invoked Danzig is back. Whoever is playing the piano is doing a damned fine job. Completely unexpected but no less excellent. It is a great ending that fades out such that if you have the album on repeat, it fades back in like it was meant to be looped.

As for some general comments, I will start off by complimenting Neil Kernon’s production. He engineered a sound that is similar to that on Serpents of the Light only more powerful, crisp, and clear. How this guy went from being the knob twiddler for such decidedly non-Metal [and truly horrid] acts as Hall & Oates, Michael Bolton, and Kansas to producing records for arguably Metal acts like Queensrÿche, Helix, and Dokken and then finally onto being the man behind the sound board for Death Metal acts Macabre, Cannibal Corpse, and Deicide must’ve been a seriously strange trip. Whatever the case, his 30+ years in the business have served Deicide well. Great sound.

Speed, speed, speed. At a total time of 26:40 [29:27 if you include the piano outro], this one clocks in at less time than Slayer’s magnum opus Reign in Blood. This is definitely not an accident as it was on Vader’s Litany where the drummer just couldn’t play slow. Glen Benton comments on the matter: “When we came in and started this record we knew which direction it needed to go in. We changed a lot of tempos because I thought they'd sound more convincing faster or with a different feel. It worked out good, I think.”

Fun with liner notes: Eric thanks the father of the modern classical guitar movement “Andres Segovia- the very best. He is why I started to play guitar.” He also thanks Ralph Santolla [though he misspells his name] for guitar lessons. This is the guy that played live with Death [he played Andy LaRocque’s parts in 1993] and is now in Iced Earth. Eric also thanks a lot of other shredders, including Yngwie and Van Halen. Slayer, Sodom, and Destruction are thanked by both Hoffmans, though Brian includes Kreator, too, and cites the 4 bands as inspiration. Asheim thanks “all the masters of metal, the masters of classical, the masters of media, the masters of military for making this world what it is.” I know, huh? Glen ends the thank you section thusly: “And the Serpent said nothing. Just grinned with knowledge....”

The DVD itself is nothing terribly special but it’s definitely a fan treat. It shows some behind the scenes footage with the band and everyone speaks, which is somewhat rare considering that Glen has traditionally been the only one interviewed. [However, the new Terrorizer (that’s a Metal magazine, junior) has an interview with Brian and Steve, so put that in your pipe and smoke it.] Anyhow, on the DVD you get to see the brothers Hoffman telling the history of the band… Brian talking about his ink… Steve talking about guns and even shooting them… Glen talking about his kid and later mutilating a lizard. Really. Yeah, there’s more. It’s a fun little piece at 35:28 in duration.

Was it accidental that the Scars of the Crucifix was released on Mardi Gras, the day before Ash Wednesday? Probably, but it’s a cool coincidence. Not as significant as, say, Slayer’s release of God Hates Us All on September 11, 2001, but still cool.

I bought the “US-only slipcase version… [which] contains the “Scars Of The Crucifix” CD as well as the “Behind The Scars” DVD, all housed in a specially-designed black slipcase with die-cut “inverted-cross”. Limited to 3,000 copies this edition is not available in major chains, but exclusive to mom and pop stores in USA.” Completely unnecessary, but definitely awesome. Was it worth the additional queer denomination (that’s a three dollar bill [y’all])? Sure, why not. After all, I got two unexpected bonuses in the form of a poster and a sticker to go with my CD+DVD slipcase set. Killer. \m/

HAIL DEICIDE! The almighty have returned. Thank Earache Records. Glen Benton sure seems grateful:

“The last two records for Roadrunner were just obligations for us. It was a case of 'get in, get it done, get off that label'. I think there's some good songs on “Insineratehymn” but the last one [“In Torment In Hell”] was real rushed. We just wanted to get the fuck out. It only took four days to record it. 'There you go! Now go fuck yourselves!'. Earache gave us a good deal and they've been good so far. We've got a one record deal so everyone's got to be honest and work. So far they've done on one record more than Roadrunner did on two or three records, man.”

Easily 10 out of 10.
\m/ Two horns way up....

[Glen Benton’s quotes originated from the official Deicide website: www.deicide.com.]

written by Tony Belcher

Playing time: 29.27