Anatomia USA: Morbid Angel II
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A LTARS OF MADNESS
Between Abominations and Altars there were a lot of people, and among them two should be mentioned: Wayne Hartsell, who recorded material that eventually was released as single "Thy Kingdom Come", and Sterling Von Scarborough, who was more inclined towards Grindcore, and who later with Browning formed a project Incubus, where they recorded a short demo (also released as a single), with songs initially written for Morbids, but rejected by Trey. So much for a prologue...
Probably my least analyzed album, which doesn't mean I didn't listen to it much, quite the opposite. Initial listens gave the impression of a monotonous and repetitive album. It's true that I discovered Morbids last, after Suffocation, Marduk, and the rest of the extreme genre. It took a while to accept the music in its entirety. Many people like this album more for its extreme nature than its content, in my opinion. The album itself can be summed up as Slayer, only several times faster, dirtier, and more insane. The question of whether this is Death Metal Slayer is therefore pertinent, as the solos certainly evoke such associations. But for Metal fans, this is definitely a plus. Copying a good band is much more welcome than creating something original. Morbid Angel, however, has actually presented a bit more of themselves and proved with subsequent albums that they have a bit more to offer than others.
The cover for Altars is quite unusual. It seems to depict the interior of a black hole in space, or the bottom of some abyss. However, for a while, I thought it might be a planet or some unspecified cosmic sphere. What do you think? What the hell is that?
On this album, Trey primarily wanted to get rid of the old material burden and re-recorded many songs, slightly rearranged at times. The album is full of interesting details and little tidbits, such as the intro to "Immortal Rites" and the keyboards from that track.
Thanks to the booklet, one can distinguish the temper between the two guitarists. While Brunelle strums like Kerry King and tries to be a bit melodic like Hanemann, Trey's Van Halen-esque masturbations can break your soul. Both men share a similar style, except Trey is more frantic and chaotic.
In regards to vocals, I always wondered why the style performed by Vincent here differs so greatly from what he would do in the future. I have this theory, that as the material was archival, and many of the songs were sang originally by Dallas Ward, David's role was limited mostly to doing interpretation / imitation. But that's just my theory.
What might be interesting is a fact, that outside of praise, there were also numerous contemporary reviews which bashed the music as a noise. I do regret not saving them as a kid, as it would provide for an interesting contrast.
Immortal Rites - an unofficial hit and MA's most important achievement. If I were to convince anyone to try Death Metal, I'd play this one plus "God of Emptiness," also by MA. The middle bridge of the song is epic and should be an example of what Death Metal is all about. The song is meticulously composed. The intro features main theme backwards, which was a result of Trey being during the mastering process, where the album was played from each angle. This, along with keyobards were added at the last minute. Despite being confined to a specific genre, the band exhibited some more Rock-oriented vibe. However, this becomes apparent only upon deeper analysis. The song itself draws from an older MA track called… "Morbid Angel," a 15-minute opus only known from the early live recordings, mostly with the main riff.
Suffocation – an underrated band named themselves after this song. Together with the next track, they form a sort of trinity that opens the album. These are undoubtedly the freshest compositions on the album chronologically.
Visions from the Dark Side – the beginning is very good. A fanzine, one of my favorites, has a similar name to this song: "Voices from the Dark Side." The song is short and just as catchy as the previous two.
Maze of Torment – would I be exaggerating if I said it's almost a classic theme? I'll be honest, I'm surprised this song didn't make it onto "Abominations...", but maybe that's for the best, because otherwise we probably never would have encountered "Demon Seed" or "Hell Spawn." The band's trademark is their skillful tempo shifts. They can go from blitzkrieg (very fast, pounding) to sludge/slime, slower passages. Probably the oldest song, partially along with "Immortal Rites".
Lord of All Fevers and Plague – is it good that it was re-recorded? I personally love the live version on "Entangled..." This song works best in a slower version, where certain nuances are better captured.
Chapel of Ghouls – the difference from the older version is primarily in the solos (Trey plays it differently each time, seemingly similar, but completely different), and there is a moment when the keyboard enters done with an effect intended to give the impression that the devil is singing.
Bleed for the Devil – a somewhat ignored hit by the band, rarely played or mentioned, but a hit nonetheless. This is a second, modified and improved version from the old rehearsal tapes.
Damnation – this slightly more psychedelic section, if you can even call it that, actually began with the previous track.
Blasphemy – the title was shortened from "Blasphemy of the Holy Ghost" for some unknown reason. After all, censorship didn't exist in Earache. The song is quite old for this album, but it's obvious it had to be included.
Evil Spells – the closing track on the original album. The main difference from the previous version ("Welcome to Hell") is the transition after the chorus. This version is more Death Metal-esque. There are also minor lyrical adjustments compared to the original. The vocal dynamics, however, remain unchanged.
Freshness: Immortal Rites – contains a fragment of the 1984 song "Morbid Angel," which evolved in a great direction. Suffocation, Visions From the Dark Side – rather new tracks, although played live in late 1988, but one could say almost simultaneously with the recording of the album. Maze of Torment – an oldie, dating back to 1984. Lord of All Fevers and Plague – a bonus track, but an oldie, from 1984. Chapel of Ghouls – 1986, the second version. Bleed for the Devil & Damnation – relatively older among the newer tracks, from early 1988. Blasphemy – an older track, from 1987. Evil Spells – a remake of "Welcome to Hell" from 1986.
Summary: New tracks: 2.5 (you could say the first 3). New tracks: 2. Old tracks: 5.5. I rate the freshness level at: 50%. This album is really one big remake and more of a document of the band's beginnings.
Probably the only official MA outtake in history comes from this period: "Funerals." This is true in the sense that it was played live, but there was never a studio version. The song is somewhat in the vein of "Suffocation" and "Visions of the Darkside" in terms of atmosphere and tempo. I think the only reason it never made it onto an album is because it was written by Brunnelle. It's an outrage, a coup d'état evan. Seriously, it's a bit sad, because the song is quite good and immediately catchy, and also ambitiously developed. Trey himself admitted that he doesn't like playing other people's ideas.
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