Deicide - Scars of the Crucifix (2004)

Loathe as I am to exploit the term "forgotten album", it would seem that Scars of the Crucifix is just that. I'm not sure why, either. I mean, I'm fairly certain that I remember this album getting a healthy amount of exposure (not to mention an ultra-corny video showcasing a big, fat Crowbar looking biker dude getting yelled at by Mr. Trifixion himself) at the time of its release so I'm at a loss as to why so many people seem to overlook this record. It would seem that while the world was tripping over itself at the supposed "return to form" showcased on Deicide's The Stench of Redemption, 'Scars...' incidentally got shuffled onto the back burner. I can assure you... as long as you're not expecting a full-fledged return to the super-tinny, thrash acrobatics of 1990's Deicide and '92's Legion LP's you should do just fine with 'Scars of the Crucifix as it perfectly revisits 'Once Upon the Cross' and 'Serpents of the Light' while actually throwing in some damn fine lead guitar-work to boot.

I wouldn't go so far as to say that this is a "great" album but admittedly I've listened to it on more than one occasion and enjoyed it rather immensely. The band obviously had a newfound interest in creating interesting riffs and obviously someone in the Deicide camp was listening to more brutal stuff as that particular aesthetic was ramped up a notch. Vocally, Glen teeters the fence here. At times he sounds as good as he did in his earlier years, thanks to the over-dubbing of his highs and lows. At other times it's apparent that age is none too kind to aging death metal vocalists as you can clearly hear the wear and tear on his vocal chords. Unfortunately that little factoid has done naught to deter him and frankly he's sounded like a lampoon of himself for many years now. Nonetheless, I've always thought that this was a fairly accurate throwback to Deicide's early (ok, well not too early) years and was a rather high note for the Hoffman's to take their leave on.

Morbid Angel vs Deicide

Altars of Madness (1989) vs Deicide (1990)

Deicide. Easily. Sure, Morbid's debut may have that extra bit of hype surrounding it but Deicide's first album came violently crashing through the doors and gunned down everybody in sight. Sure, people may try and downplay their impact a bit these days due to the fact that Deicide hasn't released anything of worth in almost two decades, but the fact remains... Deicide, for me, was the first album that truly shook the almighty 'Church of Slayer' to its core in terms of blasphemous content and pure savagery. Deicide weren't "toying" with notions of "the ancient ones". No. They were throatfucking everybody with a crucifix and pissing into the exit wound.

Winner: Deicide

Blessed are the Sick (1991) vs Legion (1992)

Honestly, I've always had mixed feelings about 'Legion'. Then again, I had mixed feelings about 'Blessed...' as well, though I could tell upon my first listen to that album that something greater was brewing. 'Blessed...' was the skin shedding process.

One thing I always loved about 'Blessed...' were the slower, modernized Sabbathian riff dirges that permeated the atmosphere. Perhaps that is the reason I was never too keen on 'Legion' as I felt it was a step backwards what with the "thrashier" riffing. Sure, not all of the songs were like that and yea, I "get" that death metal was derived from thrash but at that time I was more interested in where it was all going, not its initial manifestation. Also, Glen's vocals on 'Legion' were showing signs of battle fatigue whilst David Vincent's were coming into their own.

Winner: Blessed are the Sick

Covenant (1993) vs Once Upon the Cross (1995)

Covenant was not only a reaffirmation of Morbid's mighty grasp upon the death metal scene, it was also a reinvigorated approach to the band's strategy for world domination. I was honestly taken back with how barbaric this album was. I actually had the pleasure of driving down to Manhattan with Paul (Profanatica) Ledney and a few friends and seeing MA's first show for their 'Covenant' tour back in '93.

Once Upon the Cross was the first time that I truly felt that Deicide may have reached the far end of the slope. Granted, upon further examination, OUtC turned out to be a rather enjoyable affair but the fact that doubt had entered my mind, even for a second, was telling indeed.

Winner: Covenant

Domination (1995) vs Serpents of the Light (1997)

Domination is a classic example of a seemingly shitty album that turns out to be a classic. An artistic statement, if you will. Serpents of the Light, however, is sound of a dying band in it's death throes. Actually, it doesn't even sound that intense. SotL was a pathetically anemic affair that had pretty much convinced me that Glen Benton & The Boys had blown their creative load early in their career and were pretty much coughing up dust at this point. Sadly, it would get a whole lot worse.

Winner: Domination

Winner overall: Morbid Angel

Deicide - Serpents of the Light (1997)

I don't know WHAT the fuck they were thinking when they gave the "thumb's up" for that album cover but holy fucking herpes, Buttman!! That right there should've got the alarm bells ringing but for some reason I just chalked it up as a case of a possible classic unfortunately adorned with a shitty album cover. Nope. This was pretty much the beginning of the end right here.

Now let's get this straight... Deicide have NEVER fagged out. It's not like they ever released an alternative -ep- filled with techno remixes of beloved chestnuts. No, but the quality of each album since 'Once Upon the Cross' has been on a consistent spiral downward. Sure, I know that many people believe that 'The Stench of Redemption' was some sort of second coming but I for one have never seen it as anything but yet another lackluster outing amidst a sea of the same ol', same ol'.

The first thing that bummed me out about 'Serpents...' was that they went back to the higher pitch of the first two albums. Sure, it worked for those albums but when you're essentially playing in the same simplistic manner as the previous album (OUTC) I would suggest sticking with the same sludgy sound in order to give each riff that added impact. Here, everything just sounds ultra-faggy and tinny to the max.

Glen sounds 'ok'. In fact, there are moments here and there where he sounds his most hateful (choking the life from you with my bare hands). The biggest gripe I have with his performance on this album is the predictability of his lyrical arrangements. Where his technique worked for the three albums leading up to 'Serpents...', it all just sounds mechanical and uninspired this time around. Unfortunately this has been Glenny's way of doing things ever since (though things have gotten worse due to his need to overwhelm each riff with incessant "portions" of his ultra-juvenile brand of lyricism).

There are a few 'ok' tracks on this album but the remainder is quite worrying and looking back in hindsight it's really no surprise to see how things fell apart shortly thereafter.

Deicide - Legion (1992)

Certainly not the "be all, end all" Deicide album that everyone cracks it up to be. That, my friends is a sentiment reserved for the band's self-titled debut. 'Legion', for me, is bullet ridden with flaws galore.

Sure, there are great songs scattered throughout and hell, some of them I count among my favorites of the band, but there are also things that drive me fucking batty, like the happy-go-lucky thrash riffs found in songs like 'Behead the Prophet' and 'Holy Deception. In fact, most of the lamer songs are found on the album's second half. It's almost like the first four songs were so taxing in their manifestation of evil that the band were reduced to some faggy version of themselves by the time 'Behead the Prophet' came prancing out of the gates.

The production on this album is also very aggravating as, despite its inherent "tinnyness", the bass is just overwhelming. Oddly enough, the actual bass guitar is jangled and high tuned. Musically, it doesn't even sound like Glen showed up other than to record himself haphazardly punching the fretboard of his bass. I mean, nothing makes sense in that department. Now don't get me wrong. I'm not the grammar Nazi equivalent of precision and technicality but god damn, at least do what David Vincent does and "pretend" to know how to play. Worked for Martin Van Drunen.

My last gripe is that Benton ditched the gnarly vocal effects slathered over the first album because some whiny faggots complained about him using "vocal harmonizers" (?) Fuck 'em. Personally, I liked hearing the vocals spiced up such as they were on the band's debut. I've NEEEEEVER complained about a band's decision to sound nastier and more monstrous via technological gadgetry and studio trickery. So be it. If that's what it takes to conjure fourth the ancient ones than I'm game.

As I said earlier, the first four songs are on point. The band basically took the formula that made the first album successful and warped it up a bit this time around with peculiar results, most notably in the album's opener 'Satan Spawn the Cocky Demon'. The dissonance found on this track can be a bit dizzying, but I mean that in a stupendously good way. Also of "note", 'Repent to Die' may be Deicide's most technologically "notey" song to date. Not a surprise at all to see that Glen was in no hurry to play that song live every night. Small wonder why the band opted for hooks next time around.

While there's nothing terribly offensive going on within the confines of 'Legion', I certainly do not share everyone's slobbering approval of this album. It's cool and it certainly carries with it many memories from my youth but overall I'll always consider the band's self-titled to be their "pinnacle moment".

Deicide - In the Minds of Evil (2013)

You're better off seeing what's going down inside the mind of Mencia than this tired and dried up well of receding hair-lines and geriatric pattern arrangements. Pretty sad, actually, as I can clearly recall the days of old when each new Deicide album was rabidly anticipated and eagerly devoured upon arrival. It's been almost twenty years since I've really given a shit about a new Deicide CD and nothing, I repeat... NOTHING that the band has burped out since the departure of Lobster-Arms & Dough-Boy have I found the least bit interesting. Yes, that includes 'The Stench of Redemption', a full blown exercise in mediocrity and the power of hype.

What we have here is the perfect companion piece to the band's last album, 2011's 'To Hell With God'. A thoroughly dry and mummified version of the band that manages to sound nothing like the once frightening musical force that released 1990's 'Deicide' and '92's 'Legion'. Whoever tells you that this album sounds like 'Legion' should be kicked in their nut-sack and slapped in the face. Repeatedly.

Deicide - Once Upon the Cross (1995)

I'm going to go ahead and state that I've always liked this album better than 'Legion'. For me, 'Legion' had too many "happy" sounding thrash moments and not enough of the evil riffing found on the band's debut. Also, the production was pretty shot. Everything sounded to garbled and clunky.

Now, to be fair, when I first heard this album, I had pretty much written it off. I figured that Deicide was all but finished. Where the first two albums showcased a dumptruck load of energy and a knack for speed and riff intricacies, 'OUTC' initially came across and overweight and tired. Some of the riffs sounded laughably simplistic to me. Then, after about a solid week of listening, on and off, the album started to rub off on me. I began to realize that this was a far more barbaric album then 'Legion' was and with the exception of perhaps the final two tracks, there really aren't any bad songs on here. Even the last two are "decent", but you can tell that Glen & co copped out by shoving the two weakest tracks at the end of the album, resulting in a rather tame exit strategy. It's actually kinda funny that 'To be Dead' and 'Confessional Rape' are tucked in at the end of the album, as the band's next release, 'Serpents of the Light' comes across as a complete capitalization of the two tracks.

Benton sounds particularly hateful on this album, though the high pitched shrieking demon vocals that had accompanied his lower rumbles are noticeably trimmed down this time around. I figure he wanted to make a statement being that he did not need to rely on constant over-dubs to get his point across. Either or, it works for me, because when that mother proclaims 'They are the children of the underworld', you can feel the fucking ground shake and mountains crack wide open as a result!

Deicide - Deicide

I noticed as of late that Deicide has become the linchpin for every pseudo-intellectual type roaming the internet and feeling special because they discovered 'Ulcerate' or some other el blando-o "post" death metal band that makes them feel intellectually superior for doing so.

The real kicker is that most of these "critics" are prepubescent chumps that regard Deicide's debut as being "meh" (by the way, I'd like to kick whoever came up with that cutesy little term in the face a couple of thousand times) and only worthy of a passing laugh. The fact of the matter is that I remember when this came out as clear as day and all of the smarmy fucks who are my age and are now "swept away" by the imaginary genius of Darkthrone or enthralled by the even more baffling appeal of Portal were left drooling and stupefied with amazement when this came out oh so long ago regardless of what they'd lead you to believe in this day in age.

I realize that it's been a LONG motherfucking time since Deicide has wielded any semblance of authority over the fickle minds and imaginations of the death metal masses, in no small part due to the fact that they have been on a creative downslide since, arguably, 'Once Upon the Cross'. Maybe 'Serpents of the Light', depending on how forgiving or just plain dense you are. I can also understand, to some degree, that since this albums release the death metal flood gates were torn off of the fucking hinges, cast aside and forever forgotten thus allowing an unhealthy amount of desensitization to flow into the ears and minds of metal music listeners since. Despite the fact that the band has been mired in creative stagnation for almost twenty years, nothing, absolutely nothing can take away from the initial impact this band had on the metal scene, death metal in particular, during those early, formative years.

Back in 1990, there were really only a handful or two of bands that were legitimately creating music under the death metal moniker. Sure, there were countless unsigned acts that nobody would hear of until at least 10 or so years later with the advent of the internet, but as far as signed bands that were releasing globally accessible albums were concerned, pickin's were mighty slim, therefore when Roadrunner aka R/C (in those days) unleashed Deicide's unholier than thou self titled debut in the Summer of 1990, minds were sufficiently blown.

It's so easy for people to jump on the hipster bandwagon these days and poke and jeer at Glen Benton's rapidly balding dome (which does nothing to cover up the crooked cross embedded in his skull)) and his increasingly shot voice, not to mention his unwise insistence to liberally pepper his vocal lines on almost any and every conceivable section of each new Deicide song making it a cringe inducing affair to endure, yet make no mistake about it whatsoever, on this album Benton was a fucking hateful and bestial sounding monster from where only nightmares reside. He sounded equal parts demonic and murderous savage and I don't give a roasted rats arse if he tinkered around a bit in the studio to come up with some of the vocal monstrosities on display here. The bulk of the voices that he employs on here are certainly his own and as far as the high and low overdubbing goes, well, what can I say? It sounded fucking great! Sure, scholarly know-it-alls will be quick to point out that Carcass or even Napalm Death were also using high and low death metal vocals before Deicide had but I dare say that the explosive effect that Glen's vocal studio tinkerings would have FAR fucking surpassed what I had imagined could be done up until that point.

For quite some time beforehand, Slayer, for me, was kind of the "be all, end all" band in terms of shock and aggression, lyrically and otherwise. Even though I had been exposed to the likes of Napalm Death, Obituary, Sodom, Death, Kreator, etc, none of these bands were able to shake the foundations set by L.A.'s best, that was until Deicide came rampaging out of the gates with this behemoth of a monstrosity. Even the lyrics put everyone else to shame. When you proclaim that you 'killed Jesus, you know, just to see him bleed....', that pretty much nails the fucking coffin shut. You can go around wearing spikes and dabbing black and white make-up on your face akin to the manner in which many glam rock bands had done beforehand, but when one makes a statement such as that, that pretty much cancels out all of the "crispety, crunchety" black metal bullshit that has filed out of the gates since. The war is over.You can go back home now. You are no longer needed, and never were for that matter.

The drums on this album were also something of a surprise. Sure, death metal's blasting obsession had already taken form and everyone was already drooling over Pete Sandoval's expertise, yet there was something a bit more desperate and barbaric about Steve Asheim's brutal pummeling behind the kit. Listening to Pete sounded like what a typewriter must sound like to a deaf guy in the next room. Asheim was pounding the fuck away on these things and at that point showed all the promise of Sandoval and many of the other great drummers of the time.

Of course along with Legion, the self titled debut was Deicide's most evil sounding record to date in terms of guitar tone and riff selections. Sure, the leads were in the messy Rick Rozz/Slayer department, but who gives a fuck? When the actual riffage is this desperate and harnesses that much hateful intent, I pay close attention. Leads were usually the last fucking thing I cared about, if I even paid them any mind to begin with.

It's truly a shame that so many people getting into death metal these days are skipping right over this masterpiece of truly evil death metal. Sure, the band's Satanic "beliefs" are up for question but the negative and chaotic vibe that this album gives out puts to shame anything that has come out of Norway since Darkthrone jumped on the bandwagon that they've been circling ever since.