Anatomia USA: Morbid Angel IV

   

(old analysis from more than 10 years ago) 

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D OMINATION

SWITCH TO POL 

Like Heretic, this album is highly controversial, dividing fans more than usual. Many who are supportive of this record say it's their most creative and interesting album. It's true that the band was at its peak at the time, following the success of its predecessor. Did they go commercial? The truth lies somewhere in between. On the one hand, the album is lighter and more readable than most Death Metal productions, but it's still not exactly radio-friendly, even with "Where the Slime Live."

The music has mellowed somewhat, no longer as terrifying as it once was. It's still somber, but a bit colder, more mechanical. Satan isn't in the songs, but the themes are more war-like and social. The sound is a bit industrial, and there's experimentation with song structures, which is quite interesting. The album can even be divided into sections: the first and the last three tracks are experimental, with the first three being faster and more anthemic. The three tracks in the middle are quite average, but that's not Trey's fault. The vocals are also more core than growl, but not overly so.

I think it's also a matter of getting used to the album. Those who didn't want to delve into it didn't appreciate its merits. The songwriting balance also changed. Most of the album was written by Trey, but 45% was written by Rutan. The songs he wrote feel like 100% Hate Eternal (Rutan's future band). So I'm not surprised that "This Means War" wasn't played live during Morbid gigs, but rather Hate Eternal's, and quite regularly.

Another criticism dealt with the cover, which is even more baffling to me. While there are two versions, and while the second one with the statues in the sand is indeed awful, this one fits the band perfectly. It certainly doesn't help that Trey himself criticized the album, but mainly for the lyrics. Trey preferred to focus on "Ancient Ones." And he once lashed out at his former bandmate in an interview, equating Vincent's lyrics to vibrators (or something like that).

Despite being a fairly long album, there's a feeling of dissatisfaction. Could the band have given more? Perhaps, but at the cost of breaking their policy of limiting their albums to nine tracks (excluding interludes), which will be discussed further below. I won't deny that I found Rutan's contribution on this album somewhat lackluster compared to MA's later album, "Gateways to Annihilation," where Rutan created some rather good work. Another thing is that Trey mentions Chun Li from Street Fighter in his acknowledgments, and in the video for "Where the Slime Live," he wears a T-shirt with anime characters. A sign of insanity? Oh yes...

Dominate – the beginning is almost explosive. It's a shame there wasn't a video for this track. It's the only track from this album to appear on the MA live set. The song flows quite smoothly into the next one, which is...

Where The Slime Live – a song that has been accused of being anti-seismic. It was during this period that Vincent held more radical views, which he later regretted somewhat. How much truth is there in this? I won't delve into it, especially since Dawidek was associated with the stars of extreme xenophobic movements. Suffice it to say that Lemmy gave Vincent a kick in the ass when he came to his trailer with "Mein Kampf" intending to discuss the book. The lyrics themselves mask certain views and convey his thoughts quite cleverly. As if that weren't enough, the vocals also sound rather unusual, as if recorded underwater, slightly hazy and strange. The solo is also worth noting; it feels inspired by classic rock.

Eyes To See, Ears To Hear – The band manages to break some molds here. It has a catchy chorus, which is rare for an extreme track, in a Covenant style. It's a collaborative piece, a duet between Trey and Rutan. It's easy to guess who came up with which parts of the song, such are the contrasting temperaments of the two guitarists.

Melting – instrumental interlude created by Rutan. I wonder if he created it voluntarily, because it sounds quite boring and forced.

Nothing But Fear – the song is slow and quite unlike MA's style. Which is understandable, considering it was created by Rutan. Many die-hard MA fans will undoubtedly consider it weak. The lyrics, in turn, are the antithesis of what MA has done so far, as they deal with the so-called "doing business in war" (another antiseismitic song, perhaps?).

Dawn Of The Angry – another slow and somewhat "choppy" track, although the beginning is quite convincing. It's played live with different lyrics, which piques my interest, as I haven't found lyrics for this version anywhere. The leap in quality is immediately apparent, as this track was written by Trey, meaning slightly better ideas and riffs. The solos are also a bit more dynamic and memorable.

This Means War – another Rutan track, and this time it's a bit weak. We have a storm of riffs that rarely go anywhere; it's just choppy. Despite this, you can hear the MA spirit somewhere. It's possible Trey improved things after Rutan. As mentioned, this track is generally overlooked at live shows. I can already guess why Trey wasn't entirely convinced by the other musicians' ideas and preferred to pursue his own. The silver lining is that it's a relatively short track.

Caesar's Palace – this is my favorite, in a way. The song starts off somewhat ambient and calm, before settling into a waltz like "Blessed Are The Sick." The subject matter is also more historical. Probably the only track that's a pure throwback to the old MA. Very good riffs and solos.

Dreaming – the second instrumental interlude on the album, this time by Trey, which is audible, as it's slightly better than "Melting." Melodic and clever. Recorded in midi.

Inquisition (Burn With Me) – another somewhat forgotten song on this album. It's a light track, preparing for the album's conclusion. It's catchy, but not as catchy as the other hits on the album. The song also has some slightly "Blessed" moments. It has some good ideas, yet it's treated somewhat as secondary. Is it overcomplicated? I'll leave that question open.

Hatework – Rutan's song and the most controversial track. Industrial Death Metal? Partially. A track that might have put off many fans. There are quite a few hidden gems here that aren't particularly obvious until you listen closely. A different structure from the rest of the tracks on this album, adding a bit to the already diverse album. It sounds a bit more like outro, than the actual song.

Freshness: All songs are new. So it gets an 100%, but it's worth telling that only half of album was written by Trey, while the other by Rutan. All lyrics by Vincent, which Trey did not like. It was also the end of the seminal era of MA, known colloquially as „A-B-C-D”. Harder times were coming both for the scene, as well as the band. The music however, would improve.