| .Morbid Angel is a death metal band formed in 1984 in Tampa, Florida. They released three demos from 1986-1987, before the release of the album Altars Of Madness in 1989 on Earache Records. Influenced by Slayer and Possessed, the band is considered one of the pioneers of fully-formulated death metal. They bring ultra-speed, unorthodox structures, ceremonial atmospheres in expression of blasphemy. A second album was released in 1991, Blessed Are The Sick, which, along with the debut, is among the best death metal works of all time. The band moved to major label Giant Records for 1993's Covenant and 1995's Domination, before returning to Earache for 1998's Formulas Fatal To The Flesh, the band’s first effort without vocalist/bassist David Vincent, replaced by Steve Tucker. Gateways To Annihilation was issued in 2000, followed by Heretic in 2003. David Vincent has since returned and the band are currently working on a new album. |
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Morbid Angel F.W. Nietzsche wrote about the limitations set upon art under the control of expression from beautiful, ethically proportioned souls, affirming that the most powerful art is that which acknowledges and embraces ugliness and beauty as one in the appreciation and communication of an entirety of life in a reflection of the reality of our world. To portray the world in the design of purely one or the other is to offer an illusion that fails to contemplate the journey of life in its completeness. There is struggle, tragedy, misery, darkness and evil that gives a meaning to existence just as beauty, elation, triumph, and love provide. To truly portray this condition through any art is to express a shared experience of life that reveals meaning even in our most deflated moments. Death metal pioneers Morbid Angel recognize this truth and deliver it perhaps better than any other band from the genre. Through music that inscribes the wickedness and darkness of humanity in the formula of fast, evil metal, there is the embrace of life’s destruction and failure in the hands of powerless beings under the weight of universal magnificence. But there is a beautiful, timeless, eternal complexity to the nature of existence, a purposeful order that supplies definition and meaning to the suffering integral to all life. This beautiful design is manifest in the compositional structure of Morbid Angel songs, where intricacy meets primal simplicity in the creation of a sound possessed with a ceremonial ambience unorthodox in its degree to heavy metal yet absurdly appropriate to present a sophistication through barbaric wisdom justifying the artistic virtue of this music. Altars Of Madness is a death metal institution, and much like other genre classics, its reach stretches beyond any limitations of definition. This broader appeal is most attributable to the skill level of instrumentation and the manner in which this supreme individual talent culminates in powerful songs driven by a spirit unyielding in its convictions. Demoniacal guitar leads from the incomparable Trey Azagthoth elevates compositions towards transcendental realms where art is awakened in spiritual fire and the burning passion of unsettled souls ignites the will to triumphant self-affirmed destiny. The architectural substance of these songs fueled by relentless rhythmic currents of speed-riffs in adamant transition boils in hellstreams of sacrificial blood. Speed drumming from Commando Sandoval blasts in dead-on determination with an ability and imagination abundantly inspirational to future death drummers, combusting tempo in raging pursuit of compositional truth in deceptive complexity. Powerful and furious vocals of Vincent conjure spirits of ancient time as prophet of disclosure, awakener of slumbered souls, affirming the truth of our humanness in relation to universal understanding. Life has no meaning beyond what we provide it with. Illusions of falsified significance enslave the minds of the weak. The strong in spirit and the wise in intellect must utilize their composure and capacity to overcome a world of lies towards an existence in recognition of natural reality, which can never be altered to accommodate our selfish endeavors without inescapable repercussion. "Rid us of our human waste Arcane magnetism is at work within this music. Its character is constructed by strength, fury, wisdom, and determination, unified to a degree unknowable by the feeble. It is ageless in its beautiful structure and dark energy, operating with a clarity of amalgamated purpose motivated by a passionate intention. Like Slayer and Possessed before them, Morbid Angel turn music into a revelation in conceptual function and become more than a band playing music, but something definitive with a sound instantly recognizable as sacred in the realm of abstract awareness within artistic expression. Rather than music for its own sake, this is universal in its message and method, with the potential to affect even those who cannot grasp it. Blasphemous in the face of religious conformity, orchestrated horror bleeds forth from the depths of tormenting nightmares, while cryptic passages whisper forthcoming death of slow suffering. "Do what thou wilt shall be the whole of the law A highly influential and inspirational work, Altars Of Madness exists among the most significant and essential recordings in the history of death metal, and like the other albums it shares company with in that regard, its voice resonates in other fields to reveal a wider importance and interest as a sound transcending genre. Magical in its process, menacing in its dark anger, wise in its philosophy of the struggle of human spirit in conflicting with modern time, the music on display here will affirm the strong and intimidate the weak. Altars Of Madness is dark enlightenment through timeless vision. 11/05/06 Tracklisting: 1. Immortal Rites Running Time: 35:09 Line-Up
David Vincent - Bass Guitar/Vocals Production: Recorded and mixed at Morrisound Recording, Tampa, Florida. Engineered by Tom Morris. Produced by Dig and Morbid Angel.
Morbid Angel A mesmerizing assembly of unorthodox riff structures twisting and mutating bizzarely into a flaming vortex, dizzying percussion upholding discomforting rhythmic foundations slithering within and without supremely orchestrated formations carried through searing speed and lurching doom crawls. Vocals are spit out in venomous scorn and ferocious authority. A satanic cyclone is summoned forth in gloriously blasphemous assertion. Blessed Are The Sick is a firestorm of a work, celebrating the ancient and praising the mystical in a ceremony of fury. In creation of one of death metal’s most revered works, Morbid Angel weave a complex web removing this work from standards and traditions set before it while setting a precedent for which the genre continues to attempt to match. They do this through otherworldly arrangements, bewildering instrumental command executed with a musical vision the likes of which heavy metal had never fully asserted (though Slayer and Possessed should be recognized as driving musical inspirations, neither were as sophisticated or this satanically persuasive). The work is assembled in beautiful architectural design, decorating the core with ritualistic instrumental works of piano, acoustic guitar, flute and marching orchestration. The sheer scope of this work alone has set this as one of death metal’s most innovative and terrifying. Usage of tempo is intelligently considered, never allowing the speed to take the role as primary structural identity, rather as enhancement of intensity to contrast the composition’s core/spirit. The recording confronts the listener in demonically possessed character establishing an ambiance of ritualistic darkness hovering over a sea of molten lava. At once unsettling and all-consuming, the album contorts, reaches forth and constricts. Through an approach of mythical intellectualism and a highly developed compositional sophistication Morbid Angel provide death metal with an enhanced level of presentation, progression and vision in which a style of music becomes something more towards a sweeping majestic motion of beautiful, frightening and, in this case, smoldering, sonic maneuvers. A staggering fluidity from one movement to another functions in conjunction with an expression of spiritual emphasis on eliminating religious establishments, channeled through an informed knowledge of Sumerian/Lovecraftian mythology and deep-reaching self-manifestations. The work, despite complicated manipulations in formula, flows with purpose and emerges as a recording regarded as one of the genre's most influential and standard setting/defying efforts. Much of this recording's warped magic is the responsibility of Trey Azagthoth, whose unconventional riff construction and melting/boiling/blinding solos are the result of the musician's astounding creative vision and unique approach to his instrument and its possibilities within this style of music. His instrument erupts into volcanic monuments, towering over each track's landscape, slithering through sonic corridors and breathing fire in the face of traditional heavy metal guitar soloing. This is a display of precisely how barriers within a genre can be transcended and how unrestrained expression transforms music into something beyond. Blessed Are The Sick trail blazes through formulas previously demonstrated to construct a vision and voice to shatter preconceptions. It is the sound of a band arriving, setting forth to forever alter the shape of a genre’s musical landscapes.
Tracklisting: 1. Intro Running Time - 39:31 Line-Up David Vincent - Vocals, bass guitar Production: Recorded Jan-Feb 1991 at Morrisound, Tampa, Florida.Produced by Morbid Angel. Engineered and mixed by Tom Morris.
Morbid
Angel Death metal’s major label debut finds genre revolutionaries Morbid Angel seemingly more in concern with reassuring their followers of a strict allegiance to the brutal and ferocious aspects of their approach despite the entrance into corporate realms rather than further progressing and exploring experiments which had much to do with Blessed Are The Sick’s brilliance and appeal. Wrath and venom fuel these songs in aggressive attack within the group’s unparalleled formula domain and exercises not a shred of mercifulness in the process. While the album is less venturesome than its predecessor, it is a success in the object of its intention. The adventure is placed on hold until the final moments of the recording in the form of ambient, midnight-blue swirling instrumental "Nar Mattaru" and scorn-dirge crawl of "God Of Emptiness". Though this certainly makes for a different, and perhaps less interesting, listen that is more related to the Altars Of Madness debut in its straightforward force, the work is rewarding on those terms. Morbid Angel are a burning cauldron of warped audio hell. The ceremonial aspects of their sound is unlike anything achieved in metal of any form. This music lashes the senses through sheer savagery of execution and bohemian construction brought to life by the colossal talent and twisted musical and conceptual vision of the instrumentalists. The music smolders beneath a swirling fog of venomous anger in determination of acquiring supreme blasphemous prestige in intellectual form. This action creates a condition in the listener of revelation of shattered death metal barriers that simply will always remain difficult to discover on this level outside of a Morbid Angel record. You will always return, because it is a sound which demonstrates a spectacular imaginativeness wholly unique to its creators. Truly, an art that can be imitated yet never duplicated.
Tracklisting 1. Rapture Running Time: 41:10 Line-Up Pete "Commando" Sandoval - Drums Production: Produced by Morbid Angel and Flemming Rasmussen. Engineered by Tom Morris and Flemming Rasmussen at Morrisound Studios, Tampa, Florida. Mixed by Flemming Rasmussen at Sweet Silence Studios, Copenhagen, Denmark. Morbid
Angel At which point Morbid Angel, now joined by ex-Ripping Corpse member Eric Rutan on guitar and healthy amount of songwriting, experiences slippage of centrality and a dulling of their inimitable vision for a sound doused in slickness and reaches for a wider range of acceptance and listenability. Ever an incompatible death metal offer, Morbid Angel, here, enter phase two of their sonic trajectory. Covenant marked the end of an initial classic trilogy, as Domination fails to sustain consistency of quality and elements of timeless interest. Though the album certainly contains a share of remarkable qualities and high mark moments, the deconstruction of focus pollutes this work, rendering it the label of first Morbid Angel recording which carries an unessential status. The album storms out of the gate with the first three tracks, then begins a gradual decline into material that ranges from surface appeal to unmemorable exercises relying uncharacteristically on genre traditions. The scope of the recording resembles the model of structure of Blessed Are The Sick, yet does not achieve what made that work the group’s most compelling. Why? Largely because this work lacks the strong presence of character and intimidation, as well as the preternatural aura, which brought each of their previous works to such terrifying heights. The instrumentation on display, of course, is superior, something that can be discovered on each work this band has produced. But this act are equally about spirit, which is hibernating here. This marks the final appearance of original recording vocalist/bassist/songwriter David Vincent, whose poisonous vocalizations served as part of this band’s distinctive identity and delivers a solid performance on Domination. Eric Rutan also departs to concentrate on Hate Eternal, leaving Trey Azagthoth and Pete "Commando" Sandoval, arguably two of the most talented and pioneering at their respective positions in the death metal genre, to navigate the progression of the band.
Tracklisting 1. Dominate Running Time: 44:43 Line-Up Trey Azagthoth - Guitars/Keyboards Production: Produced by Morbid Angel & Bill Kennedy. Engineered & Mixed by Bill Kennedy. Additional Engineering by Mark Prator. Digital Editing/Programming - Eric Cadieux. Recorded & Mixed at Morrisound Studios Nov. '94 - Jan. '95. Mastered at A&M Studios by Alan Yoshida.
Morbid
Angel It would be easy to commend this work on the basis of the process of overcoming adversity alone. In many ways, this effort is a reflection of the determination and will of Trey Azagthoth. The departure of David Vincent carried potentially damaging effects, as the man was a powerful presence within the Morbid Angel fold. Replacing such an individual was never going to be an easy task. However, doubters would discover, upon the initial listen of Formulas Fatal To The Flesh, that you simply cannot and should not underestimate the will and effectiveness of Trey Azagthoth. Clearly, Domination was lacking in spirit and conceptual unification, leaving it as the fourth best album in the band’s four-album discography from 1989 to 1995.. Lyrical themes clashed with musical direction in a manner which left the work devoid of meaning. In essence the split had to occur for Morbid Angel to prosper. And with Trey’s drive to re-establish the original intention and purpose of the band, it was crucial to locate an appropriate replacement. In Steve Tucker, Trey discovered a frontman who brings no pretense or hype, providing a down-to-earth yet spiritually attuned presence. Tucker’s vocals are powerful, carrying a deep earthiness that communicates brutality through stamina of sincerity and strength. Though he lacks the distinction and charismatic presence of his predecessor, his work here comes across more in harmony with Trey’s vision than had become the case with Vincent. His relative obscurity prior to accepting this position and his contribution and impact on this recording further solidifies a refocusing of approach and purpose within Morbid Angel. One of challenge and triumph. Domination was a flawed work in part due to its sterilization. Formulas Fatal To The Flesh in comparison, is a monstrous contrast. The brutality of the sound and attack has not been this commanding since Altars Of Madness, and more importantly the band is operating with spirit again. The sound of the album is warm and analogue, and resembles progressive rock works of the seventies in terms of layering and feel. The majority of the songs are executed with ferocious speed delivered with a force of rage and conviction. It is a return to terrifying presence of sound that fueled the group’s early, classic works, brilliantly executed and realized by Azagthoth’s distinctively twisted riffwork and soloing ( His playing comes from somewhere deep within his spirit. No other guitarist within this genre has ever approached or handled the instrument in such a fashion.), Pete Sandoval’s thunderous and equally convention-defying percussion work and sense of rhythm structure and Steve Tucker’s solid bass work and brutal low-end vocalizing. The structure of the album, as is common for Morbid Angel, follows an unconventional method, as the album’s first half emphasizes the traditional Morbid Angel death metal attack of unorthodoxy of compositional structure. The latter half of the recording explores otherworldly musical/atmospherical realms that, while keeping in line with the convoluted reputation of arrangement of the band, ultimately fail to provide this work with a sense of imperativeness or supply of overall character to the album as a whole. The final three tracks, each instrumental, are simply pointless in regards to the unification and soul of the album, unlike previous similar forays which were essential to the meaning of the works on which they were featured. The latter half of the album is saved by the inclusion of death metal epics "Covenant Of Death" and the 1984 penned "Invocation Of The Continual One", revived for recording for the first time, with Azagthoth on venomous vocals and perhaps the album’s highest selling point. In many forms, this is a triumph for Trey Azagthoth and Morbid Angel. This music is driven by an unstoppable force with an intention of collective meaning and purposefulness that spreads to all facets of the work. Conceptually, unification has been re-established, as Trey centers his lyrics around the philosophy of the Triumvirate of the Living Continuum, delving deeper into the relationships between the natural state of chaos and the challenge of flesh to spirit to achieve maximum fulfillment through the span of existence. Formulas Fatal To The Flesh will not achieve the level of essentiality of Blessed Are The Sick or even Altars Of Madness within the death metal lexicon, or even within Morbid Angel’s own legacy, however it is a monument of challenges met through unyielding determination exemplified through death metal’s most sophisticated and unparalleled manifestation.
Tracklisting 1. Heaving Earth Running Time - 51:36 Line-Up Steve Tucker - Lead Vocals & Bass Guitar Production: Produced by Trey Azagthoth. Engineered by Tom Morris, Mark Prator & Jim Morris. Mixed by Tom Morris. Mastered by Tom Morris, Mitchell Howell & Trey Azagthoth. Morbid Angel Discography Altars Of Madness
(Earache, 1989) |
