Twenty years ago this year, Morbid Angel released their third album, Covenant, which stepped back from the concept album madness of their second work and seemed to look instead toward the collection of ripping songs and experiments that distinguished their first album.
Working more melody and conventionally-recognizable technicality into the mix, Covenant showed Morbid Angel after most of the initial thrust of ideas from their demos had worn off — leaving them to create anew, from a place where they were at the peak of their musical power. As a result, it is for many people a favorite from this band to this day.
Starting November 7, the re-constituted Morbid Angel of David Vincent, Trey Azagthoth and Pete Sandoval will tour North America playing the songs from Covenant in its entirety. This show be a good chance to introduce your college-aged children, who were conceived to this album, to the magic of Morbid Angel. Tickets go on sale July 19, 2013.
There has been a lot of interest surrounding the Hoffman brothers after their departure from Deicide. After some time under the radar, they reformed Amon with Jechael on bass and vocals to once again make death metal. Amon’s album, Liar in Wait, sounds like a mixture of old and later era Deicide with a different vocalist. Judging by how Deicide has pretty much rendered themselves irrelevant after the Hoffman’s departure, the potential for good death metal is in the Amon camp more than the Nu-Deicide camp. Below is an interview with Jechael, the bassist and vocalist of Amon.
In the years after underground metal imploded and became assimilated by standard teenage rock music, metal musicians have been reaching out toward styles which avoid the stereotypical elements of the underground. (more…)
Earache Records announced a reissue of Morbid Angel‘s last great record, Blessed Are the Sick, as part of their “Full Dynamic Range” series. The Full Dynamic Range reissues are sourced directly from the analog mix tapes or digital Betamax or DAT ones with no compression applied in mastering when released on CD, LP, or lossless FLAC formats. They all sound great for the most part and far better than most other vinyl reissues that just print whatever the current CD master is to wax using direct metal mastering. The digital (CD/FLAC) Carnage, Carcass, Realm of Chaos, and Altars of Madness ones are the best sounding versions of those albums by far.
Lantern take the Finnish black and death metal and move it back in time towards eighties speed metal to better appeal to a funderground hipster audience who never bothered to listen to Beherit or Demigod. The production of II: Morphosis is clean but slightly cavernous and vocals that sound like Per Boder of God Macabre help deceive inattentive millennials that Lantern are quality death metal and not Finnish Pantera. (more…)
Sepultura‘s Morbid Visions is my favorite thirty year old album. Released in Brazil on November 10th, 1986, Morbid Visions saw Sepultura slither past the primitive Hellhammer, Celtic Frost, and Sodom worship of their initial Bestial Devastation extended play (included as a bonus on almost all CD versions of Morbid Visions) and into ultraviolent, progressive but still primitive, death and black metal.
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.
With Earache Records promising us a re-release of this live album on vinyl in October, and an otherwise quiet week of upcoming relevant releases, I thought it might be a good idea to give this a more detailed look. Live albums are fundamentally interesting on a few levels – their attempts to capture something of the experience of a concert, their value as documentation of a period in a band’s career, the chance to possibly hear reinterpretations of favored songs, and so forth. Entangled in Chaos came out at the tail end of Morbid Angel’s commercial golden age and before the band tried to reinvent itself with Formulas Fatal to the Flesh. The product is low on references to the previously banal Domination for whatever reason, although whether that’s due to timing or creative reasons is beyond my knowledge.
These rerecordings end up more polished and standardized than the originals for the second time in MA’s discography, as the long holdovers from 1986 already got the Lemon Pledge treatment when they first entered the studios. Sometimes, the end results are rather stripped down; for obvious reasons studio adornments aren’t available, and Trey Azagthoth’s guitar solos are consistently altered from their original forms. Hearing the band’s earliest material with a production closer to Covenant or Domination is mildly interesting, to say the least, although the concessions to a live environment often cost these tracks some of their power and more musically interesting aspects. The performances are otherwise faithful to a fault, as such strict reproductions leave little room for reinterpretation… with the caveat that this is difficult to do successfully in a metal context and in this case might’ve resulted in an undesirable Domination II or similar.
There are not very many essential live albums in the realm of metal, and you can probably do without Entangled in Chaos in most cases. If you absolutely need to hear Morbid Angel playing relatively faithful but not particularly passionate renditions of their first era or are otherwise a collector, though, this rerelease may be to your tastes.
Getting into underground metal styles has never been a straightforward thing for anyone. The exception might be the Cannibal Corpse crowd that approach this music as fix for a certain mood, but see little beyond the most sensual appeal of the music. For those actually trying to appreciate the music anywhere beyond the surface either in a technical manner, it’s significance or the experience it provides beyond simple monochromatic sensual indulgence, the path consists of several steps in not one path but a multitude of paths that conform to the singular state and journey of each listener.
The present list does not attempt to give a template that will fit all as that is impossible. It is simplistic in its attempt to generalize and exemplify. The most important starting assumption is that the listener is at least fond of traditional heavy metal or hard rock in the worse case. I tried to avoid using of overtly offensive gateway bands like Craddle of Filth, Dimmu Borgir or Arch Enemy but these should not be completely discarded as possibilities to enable a smooth and pleasant transition into death and black metal.
For this example of a road map towards understanding and appreciation of death metal I have distinguished five different steps with suitable albums as follows:
I. Easy-going quasi death metal
Carcass – Heartwork
Entombed – Left Hand Path
II. Welcoming and easy-to-understand simple death metal that is only complex on a local level and so can inspire a sense of technical wonder in the listener while maintaining mood.
Death – Spiritual Healing
Adramelech – Psychostasia
Demigod – Slumber of Sullen Eyes
III. Excellent, but mostly on a technical level, with raw power and refinement in style, solid and well-produced albums that do not transcend their technical aspects
Morbid Angel – Covenant
Cryptopsy – None so Vile
Vader – Litany
IV. Authentic, representative of the core of the death metal spirit while being original
Conceived in rehearsals between 1984 and 1985, Abominations of Desolation was completed and recorded by 1986, showcasing the most concentrated and solid (in composition) release either Trey Azagthoth or Mike Browning have put out until now (or likely to ever release, for that matter). I hesitate to use the word refined here as that would imply a correcting of minute details at every level, which this album obviously does not posses. The next three albums make use of this material and refine it in different ways and distinct directions, filling out the rest of the albums with some good ideas and mostly filler.
On Altars of Madness, the most significant changes to the music besides the studio production (including tone and what no) and vocals were to tempo. The composition of the songs themselves remained the same. Basically they were played much faster and the drumming was made more “tight”. The new songs that were not taken from Abominations of Desolation were essentially inferior filler, although the songs were not necessarily bad, just not as good as the earlier material. There are two things to be said regarding the tempo changes. On the one hand, Altars of Madness is mandatory study material for any true fan of the genre and even more so for the aspiring death metal musician because it is a textbook example of excellent technical accomplishment of flexible death metal compositions. On the other hand, accelerating so much destroyed the original character of the songs which no longer sounded mystically infused with darkness but rather comically colorful. The tempo also obfuscated the structural features rather than highlighting and exploiting them, lending a flatter and more pop-oriented sound that emphasized hooks in the middle of a maelstrom of madness.
In 1991, Morbid Angel released Blessed are the Sick, which sees the band attempting to regain the spirit they lost in Altars of Madness in search of a more professionally competitive tone and production. The early songs used in this album were not as distorted, retaining their original aura, but they were re-recorded with very soft and mellow guitar and drum sound. The new songs composed for the album also matched the dense atmosphere and dynamics of the older songs. A concept orientation was adopted and the result was the artistic peak of Morbid Angel, presenting the highest refinement of the material in balance with a whole-work oriented album rather than a simple collection of songs. Here we find the best of Azagthoth’s collaboration with Browning meeting the best of Morbid Angel’s later work. While Altars of Madness came out as slightly comical, Abominations of Desolation seemed dark and serious about its occult nature and Blessed are the Sick made a serious attempt at recovering that.
Then came Covenant, the last album to use seminal material from Abominations of Desolation. This album is a strong attempt at bringing the best from the two previous albums, it is Morbid Angel attempting to summarize, solidify their voice, carving a new path after having released their magnum opus. This is always the most difficult album in a classic band’s career. It often results in an emphasizing of technical aspects while the band tries to discover how they can continue after they have achieved greatness. The result is often undeniably outstanding material that lacks spirit. It happened to Yes after Close to the Edge, the greatest and most ambitious organic expression of who they were. Becoming self-referential in Tales from Topographic Oceans and then, not knowing where to go artistically, Yes used the best of their technical abilities to produce their technical highlight: Relayer. Covenant is Morbid Angel’s Relayer.
I am tempted to say that the best work these two artists ever did was together. It is a pity that personal problems had to come between them. Same sad story of Celtic Frost’s, who also never reached its early heights after the dynamic duo at its center separated. It is hard to tell how each of these artists complement each other, but judging from their projects away from each other we can observe that without Browning, Azagthoth becomes streamlined and even sterile, while without the latter Browning indulges in an adventurous music full of life that is unfortunately musically crippled by a lack of discipline and organization. Perhaps this is also related to a merely technical appreciation of Mozart by Azagthoth and the excited yet musically uninformed admiration of Rush on Browning’s side.
Complaining about the production and tone in Abominations of Desolation and overlooking the whole composition is like missing a great book of classic literature because you do not like the cover and the font in which it is written. You can complain about the font, but the font is not the organized information that literature is. So it is that production values do not make up what music is, only a medium. This does not mean that we should not criticize this, but it seems to me that it is over the top and superficial to say that, for instance, Altars of Madness is superior because the tone and production is better there. In fact, since the best songs in that “first” album are taken from Abominations of Desolation, and the rest are second-rate filler in comparison, I would say that in terms of content this early output is the best release to ever come out under the name of Morbid Angel.
The extent to which the artist’s belief in what he says and does, and how much he is actually familiar and imbued with the material, affects the final result of the music. While the young band fervently believed in the Ancients and the Arabic magic spells referenced in their lyrics, the more “mature” band only held on to these in a more tongue-in-cheek, ironic or perhaps metaphorical sense. Abominations of Desolation concentrates and summarizes all the power Morbid Angel had to give at that point which unfortunately only dissipated in future releases. This 1986 release, and no other, is the embodiment of what Morbid Angel is.