Morbid Angel – Kingdoms Disdained (2017)

There are twelve notes. There are twenty-six letters. We can form them into combinations/patterns. The ones that stay with us are the ones that communicate. This takes us above the level of riff (metal), harmony (jazz/rock), and into the realm of melody, which uses phrase and harmony as means of strengthening the expression of a melody, or a unique combination which resembles the psychological sensation of a certain experience.

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Morbid Angel – Kingdoms Disdained (2017)

It has been twenty years since Formulas Fatal to the Flesh first graced record store shelves, which still existed back then. That comeback album was the strongest statement from Morbid Angel after their initial surge of genre-defining creativity. It may have also been their high-water mark because everything since has shown a downward trajectory.

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Morbid Angel Fail at Shilling Kingdoms Disdained

Former death metal band Morbid Angel announced that their upcoming crappy album will be called Kingdoms Disdained and revealed themselves to have wussed out as much as Chuck Schuldiner from Death.

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Blessed Are the Sick: Morbid Angel’s Last Advance

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Nirvana’s Nevermind turned twenty five yesterday but since we at the Death Metal Underground condemn pop-punk Boston worship, we will celebrate a different anniversary today. Morbid Angel‘s Blessed Are the Sick was released twenty-five summers ago. Blessed Are the Sick was the last Morbid Angel record focused on inwardly improving the music rather than compromising it for commercial appeal to a mainstream market. The band had been obsessed with refining and expanding upon their compositions since Trey Azagthoth shelved the release of 1986’s Abominations of Desolation and fired then drummer/vocalist Mike Browning.

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“C” Is For Average

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Metal was born of the fusion of heavy rock, horror music, progressive rock and the nascent proto-punk movement. The history of rock is the history of rebellion and rule-breaking: from Friedrich Liszt making his strings break live at key moments on purpose, to Jerry Lee Lewis lighting the piano on fire, to the Beatles with their hairstyles and jackets which were radical for the time, to the Doors being suggestive on the Ed Sullivan show, through Hendrix burning his guitar, to Kiss being super-sexual and painting their faces, to Black Sabbath who sang about Satan and magic, to Metallica who combined neoclassical with thrash and had a hard-partying image, to Slayer’s seemingly outright Satanism. Metal is about taking things one step further, breaking the rules and being unique. Not about following them.

Good music aims for a grade of “A” by experimenting and breaking the rules, but in doing so, takes the chance that it will get an “F.” Think of good music as Icarus: he flies toward the Heavens (or in the case of metal: towards hell) aware he is taking a big chance. He may well crash and burn to the ground in pursuit of his musical ideals. It’s a risk Icarus is willing to take.

Today we have way, way too many bands following all the rules of their genre, and not enough acts pressing ahead. When I look at my local scene it is clear that the bands who have stayed together a long while, while following the rules of their genre, are the bands who have been most successful. Most of these bands have decent music and are listenable. But its not stuff I want to listen to more than once, or see live more than once. This is the curse of local bands: competent, good at following trends, but not so good that they break out and become emblematic of those trends.

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