Anatomia USA: Morbid Angel VI

  

 (10+ years old text)

❏*666*❏*666*❏*666*❏*666*❏*666*❏*666*❏*666*❏*666*❏*666*❏*666*❏*666*❏

F ORMULAS FATAL TO THE FLESH

POLISH VERSION

Classic album for conoisseurs and the real wisemen of the art of Death. The band not only went back to their roots, they also introduced some new elements and experiments. Alas, they did lose their morbidity for the sake of brutality.

First album with the underrated vocalist, Steve'm Tucker'em. This figure, being then of little experience and notoriety, initially sparked controversy ("why him?"). However, Tucker's talent proved that the band wasn't focused on having charismatic stars, but on playing ambitious music. Only then Morbid Angel has truly gone underground.

From a mood and historical perspective, I'd compare this album to "Altars," but musically, it's more of a continuation of the "Covenant" era. It's actually a somewhat nostalgic journey for Trey, to the early Morbid's so-called "roots." This is evident in the final tracks, which delve further and further back in time, all the way to 1983. So, we have a blend of old and new.

It's a bit of a concept album, as the underlying theme is philosophical, referencing ancient deities and journeys into the unknown. The album is truly visionary and, at times, appropriately abstract. The cover, designed by a Cuban artist (Sandoval's pick?), was used under license, as was "Blessed Are the Sick."

The album was promoted as the roots of black metal (Digby Pearson wrote about this on his blog - ASK EARACHE - editor's note), due to the fact that for many Norwegian Black Metalheads, Morbid Angel was one of the greatest inspirations (as can be heard on Immortal's album "Blizzard Beasts"). It's worth noting that around the time of this album's release, Death Metal was losing popularity for the benefit of this genre.

Interestingly, one of the most shitty Polish extreme bands ripped off this album's style completely. It's no coincidence, though, as the frontman even admitted to it. (I suspect I meant Behemoth – I'm still incredibly annoyed by them. I'd only add that they also ripped off everything from Vader's "Black to the Blind" onwards, as well as the symbolism and content of Acheron, not to mention the obvious theft from Nile, but everyone knows that already – editor's note.)

In addition, there was an edition with a bonus CD, "Love of Lava," containing only the solos from that album, both used and discarded. A real treat for a fan!

Heaving Earth – A strong start. Rolling riffs, even faster drums than before, and more insistent, yet deeper vocals. A standard Death Metal track, with rapid melodeclamation. Later, the song unexpectedly slows down and changes the atmosphere slightly, gaining soul. The solo adds additional flavor. The ending is a return to the beginning. Overall, a good start.

Prayer of Hatred – Another standard, this time in the style of the album "Blessed Are The Sick." How can they play it so fast and yet make it sound so sluggishly, slowly? Rushed verses combine with apocalyptic choruses. The song is a bit more somber than the previous one. This track also contains a moment of transformation, which isn't surprising and seems more of a consequence, an extension of the theme. The solo here is more of a background track and doesn't particularly stand out. Nevertheless, it's interesting to watch the song progress from a fast-paced number to a more reflective one.

Bil Ur-Sag – One of the album's more well-known tracks, played quite often in concert (including with Vincent). Despite its simplicity, the arrangement is quite effective. The song is short and a bit less elaborate. Once again, the atmosphere of apocalypse and destruction dominates. The titular character appears in the booklet as a statue.

Nothing is Not – My personal favorite. This track is definitely slower and more melancholic than the rest. The tempo is rather slow-medium. There aren't many changes, but again, a very effective performance that strikes the soul. What makes this track stand out is the very swinging riff, almost perfect for jamming. There's also one of my favorite solos here (it's really worth checking out, it appears exactly halfway through the song - new editor's note). The song is sad, but it also carries a philosophical message, which can be read in the lyrics. It's a kind of breather, because the next one is...

Chambers of Dis – Here, however, we have complete mess. The concentrated guitar and drum attack create something more in the style of Hate Eternal. We have a rather specific type of chaos, mixed with quite clear elements. It's hard to deny Trey's effectiveness, considering that each track has a distinctive motif and melody. This track, in a way, signifies the end of the first half of the album, representing new stuff.

Disturbance in the Great Slumber – A rather somber interlude. Probably recorded in midi, but impressive. It's a shame Morbid Angel never made a soundtrack for a Lovecraft film.

Umulamahri – Like "Nothing is Not," this song is one of the slower ones, though this may be due to the main riff, and it builds much more gradually and over a longer period. This track is a cross between the new and the old. The final solo flows nicely. I suspect, though I haven't found any, that it may contain old, unused riffs and melodies.

Hellspawn: The Rebirth – The first track is a throwback. A remake of an old track, from the "Abominations" era. Much like Chambers of Dis, it's a fast and brutal assault on the senses. This version isn't much different from the original, except that it sounds more chaotic, faster, more brutal, and less melodic than the original.

Covenant of Death – Another track dredged up from the archives, but so fitting for the album. You can hear some of the older vibes, and the song clearly has an "Altars of Madness" feel, or rather, even further, as the riffs date back to 1986, specifically an older rehearsal version of "Bleed For the Devil."

Hymn to a Gas Giant – One of the reasons I was drawn to this band, and evidence of a certain degree of sensitivity and spirituality. This fully instrumental miniature reminds me of the best Brazilian metal bands, like Mutilator, Chakal, etc. (Cogumelo Records FOREVER - editor's note)

Invocation of the Continual One – Previously known as "Morbid Angel," this track featured the riffs used in "Immortal Rites." Since they'd already been used once, Trey slightly transformed and diversified them, but the similarities remain. It's also one of the longer tracks, clocking in at almost 10 minutes. It's undoubtedly a musical odyssey with recurring motifs. It's also worth noting that Trey himself provided vocals on this track. It's also a beautiful way to end the album, as we continue with the usual quirky instrumental interludes.

Ascent Through the Spheres – A very charming and even lengthy instrumental piece. It would have fit much better earlier on the album, but I understand why the band did it that way. Unfortunately, many "fans" (in large quotation marks) don't like such small interludes. Idiots (I'm not changing my mind - editor's note).

Hymnos Rituales De Guerra – A tribal-style percussive instrumental by Sandoval. Sepultura's "Roots" was popular at the time. Even though it's just drums, you can still detect the melody. It's a very cool insert, but it raises the question: why did Morbid Angel, in particular, have this tendency for weirdness?

Trooper – A very strange instrumental, perfectly suited as an outro. Here, too, we have a distinct melody. On this rather unusual note, we conclude an exceptional album by an exceptional band.

Freshness: To Umulamahri – premier. Last 3 – oldies, 1984-1986. Slightly notstalgic album, grade: 60%. Trey really dominated this one, while previously it was Vincent, who was that „dominator”, with 2 instrumentals by Sandoval.