The Craft of Metal #2: Abominations of Desolation

Abominations of Desolation (1986) appeared during the fertile years of death metal as the first full-length release from Morbid Angel but was relegated to demo status during the period when the band became more well known. All the songs except “Demon Seed” were re-recorded on later releases.

The true first Morbid Angel album reveals the genetic material that the band would then expand for the next three releases during what would be their musical prime. It shows the band at their peak from a compositional point of view owing in part to the combination of Azagthoth’s and Browning’s genuine belief in the Necronomicon and the focus on making their music the soundtrack to their beliefs.

The incredibly diverse riffcraft shows the band absorbing influences principally from Hellhamer, Angel Witch, Slayer and Mercyful Fate. Unlike their influences, the band plays fully developed death metal with long tremolo picked passages, single picked notes, fast alternate picked open strings playing against moving power chord progressions, even playing with other diatonic chords from time to time and combining the whole in a varied amount of ways depending on the needs of the songs. Notably absent is the influence of speed metal which would appear on the more streamlined Altars of Madness (1989). None of the bounce nor the rhythmic interplay of their contemporaries is in evidence here; the band does not accentuate the offbeats nor do they use the choppy syncopation of their more well-known peers.

From the heavy metal that was so influential to this record Morbid Angel brought the device of guitar solos, not as an ornament or an embellishment, but as a central piece within the composition that works closely with the rhythm guitars playing underneath. Here is a band with a limited number of technical tools derived from previous bands but combined in a large variety of ways that sets the standard for all of death metal and allows the band to create much more powerful melodies that can be interconnected in maze like arrangements.

Contrary to popular belief Morbid Angel never attempted to create atonal music as they obviously do enjoy smashing one note or power chord and then making the whole sequence invert the relationship formerly established. However, on a much subtler note Trey Azagthoth does have the ability to play with tonality in the most twisted of ways. Take for example “Chapel of Ghouls” and how the low chugging has a particular power to it and never sounds like the chugging between riffs from any speed metal derived band. That is because the chugging note is not the actual root note of the song but what is referred to as the subtonic. This is the last note in the natural minor scale and demonstrates a lack of desire to lead into the root note of the scale. Rather than a rhythmic embellishment, we are treated to an integral note in the many motifs of “Chapel of Ghouls” and how the band managed to truly convey power and occultist ideology through simple yet effective musical choices.

Chromaticism at this point in time had already been a widespread technique but Morbid Angel decided to apply their own twist on it. Rather than create fully chromatic passages the songs are derived from the minor scale and its variations but with added streams of three or four chromatic bursts. This really did obscure the tonality of certain passages, and gave birth to the myth that Morbid Angel played atonal music to make the band seem much more intellectual where in reality the young band did even better than that: they adapted tonality for their own style and to this day very few bands have been able to emulate these techniques efficiently.

The arrangements here push the riff as being above all else. Multiple melodies form these songs that flow in such a fluid manner that this would inspire the Norwegian scene in their compositional choices. The melodies vary in tempo and in note selection yet the transitions never sound forced as the band will lengthen the note duration when speeding up and shorten the note duration when slowing down. This allows for these motifs to mutate without being held back by rhythm. The influence of Mozart is subtle but is ever present in the way the band designs the arrangement of each song. At first each song has a primary melody that either begins the composition or is introduced by a motif of minor importance. A development then occurs either through a new riff that either takes the previous motif and transforms it or through an entirely new riff accompanied with a tempo change to push the tension even further along. Eventually the music arrives at an apex where all the tension is released before it concludes on the main motif that has now become a revelation.

Let us look at “Angel of Disease,” which has a simple heavy metal motif in D# minor without any chromatic notes. It is then warped to a slower riff that is barely in D# minor but has been deformed entirely by surrounding chromatic notes and this continues the momentum of the main motif as the cycle repeats one more time before branching out into a palm muted stream of single notes working in opposition with the secondary motif leading us to the grand climax of the song. The solos Azagthoth performs obey the underlying riffs and, through a combination of insane melodies that are at times atonal whole tone jumps or some very unique arpeggios like the diminished seventh which is an endless stream of minor thirds, create some very unique sounds. The solos through their madness show a strong logic where they reinforce the arrangements either by providing the climax or by creating even more tension upon the chromatic segments.

Abominations of Desolation takes the underground metal that evolving at the same time and use it to make the first truly mature death metal record. Surprisingly the heavy metal of the past is still very present in this band though it remains a device for the creation of the more consonant motifs, yet one can only wonder what the avenue explored by the only song to not appear on future records “Demon Seed.” The extravagant heavy metal didn’t seem to be in accordance with the band’s future works but what we have here is a Judas Priest style composition that plays with its dual identity, and it would take a few years before the European bands would develop this style further.

Where the influence of future country singer David Vincent would push Morbid Angel to explore grindcore and speed metal whilst taking influence from this album, Mike Browning was able to channel the band toward creating a powerful piece of art that is still to this day not fully understood and that neither musician has been able to recreate. There are far too many elements in this album to effectively analyze in such small an article as this is, but it reveals the power held by the common beliefs of two above average individuals, as well as reveals the magic that happened in that incredibly short period time only to disappear back to the depths of hell.

Tags: , , , ,

12 thoughts on “The Craft of Metal #2: Abominations of Desolation

  1. Flying Kites says:

    Massacra, Morbid Angel, and Incantation are the three supreme fallen angels of Death Metal.

  2. These riffs are so nice

  3. Maggot Paste says:

    Angel of Disease is in the key of E, just like the rest of the album.

    1. no the tonal center fluctuates often between D# and E as the band are tuned to D#

  4. NYJets says:

    Quality observations Nicholas. The attention to the technical aspect of Trey’s performance is impressive.

    David Vincent cops slander from many today, so its important to remind ppl he is a gifted frontman with plenty of charisma. It’ll be debated, but this demo album lacks the finesse that Vincent injected on “Altars”, which significantly aided Trey in forging a career playing death metal, something that unfortunately proved elusive to Browning and Nocturnus.

    “Abominations” is important for many of the reasons you state, but I’m not convinced it’s an integral recording in the MA cannon of work. Peace.

  5. Jim N says:

    Altars of Madness is superior, but this demo is lovely for completists such as yours truly

    1. D.A.R.G. says:

      Altars of Madness is for trendies.
      Only ABOMINATIONS OF DESOLATION is real.

      1. canadaspaceman says:

        damn right! Altars is if you like pillow drums.
        I don’t know if M.A. did that, but the bass drums do not sound like bass drums of a powerhouse drummer .
        In my next zine, Pat from Hellwitch CONFIRMED Morrisound definitely put fucking pillows inside of the bass drums to dampen the sound! What the hell?! Might as well use synth drums if you want to be weak.
        anyways…
        I heard OF Morbid Angel before the debut album, but there was a lot of bands.
        Knew they were cool, once I heard the ex.sounding 1987 rehearsal/demo; unsure at the moment if I had Thy Kingdom Come, or the B-side with bonus tracks, dubbed for me.
        But when Altars came out, seemed like a wimpy record compared to that tape.
        Then years later, I finally heard the REAL debut, Abominations, and wondered how they could fuck up between that, and the later clean,smoooth operator boring crap of Altars…

  6. Flying Kites says:

    Hello DMU! Your humble spammer Flying Kites requests assistance to find out what classical music is the intro to Massacra’s demo Legion of Torture. Here it is:
    https://youtube.com/watch?v=s6FbiJdEPsY

    I thank thee. It may interest thee as it certainly doth I, that I have come upon the very same recording of Faust-Soldier’s March used in Massacra’s first full length album. Perhaps it was done by Hungary very near to when Massacra released their album, shortly after the collapse of the Soviet Union. Here that is:
    https://youtube.com/watch?v=UZpTp4R4J2E

  7. maelstrrom says:

    It’s interesting that some bands started as death metal (abominations of desolation) then reverted to speed metal (altars of madness) before making a final death metal opus (blessed are the sick). I can think of Pestilence as another example of a band that did this.

    1. D.A.R.G. says:

      Altars of Madness (1989) wasn’t really speed metal at all. It was made up by an attempt to refine the compositions on Abominations of Desolation (1986) and was death metal through and through. What happens is that people confuse the usage of certain techniques, like the aggressive sustainment of tremolo-power chords as textures, as a sign of this being speed metal. It is not.

      1. maelstrrom says:

        I probably should have been more clear…Altars has speed metal elements and influences where Abominations does not, but this does not make Altars in itself a “speed metal album”. Then again, I should give it a closer listen, as often times I confuse aesthetics for what is real.

Comments are closed.