Morbid Angel (Trey Azagthoth and Steve Tucker) released a crazy press release on their Facebook page yesterday claiming to be “working on some super Inspired Over The Top Shit” and stating that they have signed a contract with German label UDR Music. Despite needing a drummer, the band promises to strike “a consistent chord of dark, dissonant death-metal empathy with their loyal fanbase.” Hopefully Trey and Steve’s new collaboration will be more Formulas Fatal to the Flesh than Gateways to Annihilation.
Morbid Angel recorded what was supposed to be their debut album in 1986. Compositionally excellent and novel, Abominations of Desolation was a Manhattan project of death metal as a truly musically distinct sub-genre. However, band leader Trey Azagthoth and then producer Dave Vincent were unhappy with the recording. Azagthoth quickly fired drummer/vocalist Browning and bassist John Ortega, and shelved the album, which Ortega later released as a bootleg. Vincent and Azagthoth had a point though: Browning’s drumming was shaky and he sounded like a wimp. His drumming lacked power, never making use of blast beats while his vocals could have come out of a whiny fourteen-year-old.
Morbid Angel have been booked as one of the headliners for Maryland Deathfest 2017 despite having only two members in Trey Azagthoth and Steve Tucker. The crusty, SJW-infested parking lot festival announced the initial round of bands this week on their Fuckbook page:
Akercocke (UK) – Exclusive U.S. appearance!
Behexen (Finland) – Exclusive U.S. appearance!
In The Woods… (Norway) – Exclusive U.S. appearance!
Morbid Angel (with Trey Azagthoth and Steve Tucker)
Sargeist (Finland) – Exclusive U.S. appearance!
Terrorizer (World Downfall set)
Sludgecore band Agoraphobic Nosebleed threw a fit for publicity over a recent batch of Death Metal Underground’s Sadistic Metal Reviews. Frontwoman Katherine Katz called us Fox News for our criticism of Agoraphobic Nosebleed’s shrieking short woman over a drum machine shtick and our psychological speculation as to why Agoraphobic Nosebleed would even bother releasing such failure other than for commercial exploitation of a musically-ignorant hipster fan base craving reaffirmation of their modern liberalism. Katz even claimed that artists should be responsible for the extreme actions of others in response to satire and that some topics should be completely off lyrics. For her, everyone who listens to “Embryonic Necropsy and Devourment” will potentially commit feticide. This is incredibly hypocritical for a band who shared a member with Anal Cunt and wrote Frozen Corpse Stuffed with Dope.
Article by Lance Viggiano.
If it wasn’t already obvious from his PVC and faux cowboy touring get up borrowed from Nikki Sixx; David Vincent finally abandons any pretense of interest in metal music by trading his lace for the lasso.
Article by Lance Viggiano
Liers In Wait cast chains of non-random riffs in the legato style of metal pioneered by Morbid Angel to no effective artistic purpose. Spiritually Uncontrolled Art comprised of rationally woven re-contextualization of familiar death metal patterns which never manage to take on a distinct character as individual tracks. The album as a whole doesn’t begin to approach a definable emotive personality because the subject of this work is the personality of the composer: a master of phrasing with an encyclopedic knowledge of metal so adept in his craft that self-editing would diminish the efficacy of his work. These streams of coherent yet cold consciousness are hewn to Necrolord’s own sense of bravado; made concrete by a vocal delivery that proffers dominance rather than dread.
This is neither music for music’s sake nor music for the sake of expressing a transcendental idea. It is entirely about the composer’s ability to write coherent music out of the first thing that comes to mind – a mind that is very much a wellspring. In some ways this album is analogous to Eighties shred which existed as a pure demonstration of superiority over its contemporaries by parasitizing familiar content that was then latticed to the listener through overly sentimental melodic hooks. Antithetically, Necrolord eschews hooks entirely as they would constitute breaks and disruptions in the stream by deploying recognizable moments and thereby give the impression of emphasizing the better material, and consequently highlighting the lesser ideas of which there are none to be found. Conceptually this seizes the middle ground between tuneless noise and the summa cum laude of ten-mile-long cock rock.
Lasting impressions, significance and meaning is for the sensitive feminine types, not the fucking overlord. In this sense, Liers in Wait is a resounding success. Those lamenting the fact that this music does not “Do something” gravely miss its point.
Billions celebrate Constantine’s syncretic solar deity’s crucifixion by eating fish today. Here’s a playlist of seven classic speed and death metal songs to contemplate this excruciating Roman suffocation method:
While I wait for a review of Sarpanitum’s Blessed Be My Brothers to make its way through the review queue, another Leon Macey project is making its way towards fruition. Mithras is an approximate descendant of Steve Tucker era Morbid Angel that presumably gets most of its media attention for throwing in some occasional melodic and muddy atmospheric sections. The upcoming On Strange Loops is the first new material from this band since their 2011 EP Time Never Lasts. Today’s track sounds about like what you’d expect from Mithras, which should make extrapolating whether you’re going to be interested in this band a trivial task.
Earache Records is doing another one of their brief, ultra-limited record sales. This time, they are releasing Morbid Angel’s classic Altars of Madness on vinyl; they claim that this release will be one of their “Full Dynamic Range” remasters, which purport to not be afflicted by the brickwalling that took over popular music with the advent of digital recording. Needless to say, this is certainly a classic of death metal, although many on DMU prefer the versions of the songs here that appeared on Abominations of Desolation. Anyone who isn’t fortunate enough to grab this vinyl and wants a version of this album with improved dynamic range regardless will probably have to scrounge up some cash for an original pressing.