Anatomia USA: Morbid Angel VIII

  

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H ERETIC

Morbid Angel - a band, which required some time to understand. The band follows the perfectionist suite, not unlike Celtic Frost did. Each album is different and represents a unique thought, idea. "Heretic" is a callback to the earliest incarnations of the group, even if stylistically it has nothing to do with them. And tries to approach new regions.

The cover itself is slightly enigmatic and requires explanation. It represents Lilith, they feminist symbol of rebellion. She's presented on both sides of the cover: in flames, and her reflection in water. The musicians also suggested, that they used the numerology on this album, but in order for it to work, it was important the order and the meaning given for the songs. Therefore, I assume that if "Praise The Stregth" is fifth, that's because in numerology it means dynamic power, and energy, open for changes.

It's worth noting that each of the 3 musicians were supposed to have a solo song, but the bassist resigned. "Drum Check" is something of a tribute and a thank you from the drummer to guitarist, especially that Sandoval had later health problems.

Many people complain about production, but it somewhat deepens the sense of alienation. However, according to an essay in the booklet, Trey wanted not only to inspire the next generation, but he coined for his own use a "vacuum theory" and also laced it with a reference to the theory of unconventional thinking, outside the patterns, so-called "outside the box". I recommend reading it; it's a good several pages of text. For those who are interested, they can look for interviews where it is described in detail how microphones were set up, how the sound was recorded, etc. A lot of work was put into this album, and it's funny that instead of astonishing the listeners, it caused almost the opposite reaction.

And yes, there is zero randomness here. For "Enshrined by Grace" (which seemed like it was supposed to be a hit on the level of "Immortal Rites"), the first promotional video made since 'Domination'. Why didn't it work out? Both "Justice For All" and "Pure Fucking Armageddon" have their fanatics, so I think the reason lay more in a boredom with the formula, as well as then widespread trend of returning to the roots, where innovations had to give way to fans' expectations. Fans wanted Vincent's return, not another album with Tucker, for only the most seasoned connoisseurs (but as usual, be careful what you wish for - edit. note).

Regarding the "Bonus levels" – this is probably a whole different degree of madness, which I am unable to describe. Interestingly, both with the bonus CD (62 tracks) and without it (44), they give the total number of 8 (6+2, or 4+4). Numerology, as I said, is crucial in the case of this album for understanding it.

Cleansed in Pestilence (Blade of Elohim) – a fairly fast and brutal opening of the album. It contains characteristic elements of the band, and I would somewhat call this track a continuation of "Lion’s Den," although they are completely different songs. Stylistically too, it is closer to "Gateways to Annihilation." (one is the new beginning - edit. note)

Enshrined by Grace – another hit of the band, for which a music video was made. The guitars lash the listener and slightly stutter, creating a wall of sound. Backing vocals done by Trey. More compact than the previous track. (two means harmony and co-operation - edit. note)

Beneath the Hollow – after two firecrackers, we get a slower firecracker. One of the more somber, sadder tracks of the band. The moment when the later transition occurs beautifully creates a logical progression of ideas. The melody of this track evokes the best qualities of the group, and if someone thinks the band cannot be melancholic, this is proof of how wrong they are. (three repesents the communication between soul and body - edit. note)

Curse the Flesh – The tracklist is arranged very wisely, because after a rather gloomy song we get something in the middle. The song is somewhat transitional, neither too fast, nor too energetic, nor slow. Nevertheless, it doesn't lack distinctive motifs. The song is somewhat reflective and reminds me of "Formulas..." with its slight inspiration from sluggishness. (four is for stability and hard work - edit. note)

Praise the Strength – another composition of the 'middle ground', although this time the sound and riffs are more cheerful. Slightly weaker compared to others and gives the impression of being made a bit by force, but upon closer acquaintance it sticks in the memory and allows one to appreciate the structure and melody. Various guitar techniques with the addition of extra sludge. (five - freedom and change - edit. note)

Stricken Arise – For a long time, this was my favorite and the song that made me fall in love with the band. I have the impression that it is very underrated. After two mid-tempo tracks, we get a solid blast again. The song is a bit simpler, as it was written by the drummer with Trey’s help. What captivated me was the very solid and powerful chorus, as well as the driving choruses that set the tempo and rhythm of the song. There were also the band’s typical polyrhythmic moments, but this time there are much fewer of them. (six is for protectiveness - edit. note)

Place of Many Deaths – as far as I know, there is a version with vocals, which would make it the missing 9th song (since the band always puts 9 tracks on their albums). Instead, we got an instrumental. You can hear, however, that verses and choruses were planned. In the background, you can hear strange sounds that were apparently recorded from the street, plus some other twisted effects. What is fascinating, though, is the progression of this song. Although it is a gloomy piece, its ending is optimistic, as if a victory were taking place. (seven is for introspection and search for the truth - edit. note)

Abyssous – The so-called "quiet moment," or a moment of "silence." For many people, it will be an unnecessary interlude that they will skip, but these people probably do not like this album at all. A nice, modest instrumental. (eight is for richness? - edit note)

God of Our Own Divinity – you can somewhat hear that we are approaching the end. This is another track that has the word "God of..." in the title, as if Morbid Angel wanted to create a kind of triptych. The track itself is typical for this album with its transitions, sound, and progression, although the emotions contained in it are closer to the previous album. In fact, this track should have been the ending, especially since both "God of Emptiness" and "God of the Forsaken" closed the album. However, I suspect that numerology played a role in arranging the tracklist in this order. Guest appearance, guitarist from Nile. (nine is for wisdom and altruism - edit. note)

Within thy Enemy – the flaw of this piece is that it is somewhat too similar to previous ones and perhaps there was a lack of ideas to add character, although there is a specific motif here as well. Nevertheless, it is a more transitional composition, even if there are no shortages of good moments and solutions. Overall, however, it is a fairly concise ending to the 'normal' part of the album (though this is not a good description) and the last Death Metal track on this album. (ten, a mix of 1 and 0 means both new beginnings, but also independence - edit. note)

Memories of the Past – in the good tradition of the band, we get instrumental tracks as the outro. However, they are not just any tracks, as there is a distinct theme and melody that gives a certain mystical atmosphere. The piece is quite long for an instrumental. (11 is a masterful number for intuition, and spirital pride - edit. note)

Victorious March of Reign the Conqueror – another one, this time more piano-based and with percussion. A melancholic and uplifting composition. I don't understand why people don't like these kinds of nuances. I see nothing wrong with the band also defining themselves in this way, although of course, they play the guitar much better. But if that wasn't enough, we also get one of the stranger instrumentals, namely... (12 is another masterful number, representing a road for perfection - edit. note)

Drum Check – contrary to appearances, this is not such a stupid and unnecessary track as many people think. The concept was that each of the musicians would have their own instrumental in a solo version. Trey created "Born Again" (more on that later), Pete had this track. Unfortunately, Tucker refused to create a song on the bass and somewhat ruined the idea, for which I personally hold a grudge against him. This is the last track on which you can hear Sandoval, which gives it yet another character. But back then, they couldn't predict the future. It's also worth saying that this is not a standard song in terms of Pete's style, as here he was simply showing off a bit. In regular songs, he plays differently and more subtly. Here we have a frontal assault. (13 - transformation, and possibility for personal growth - edit. note)

Born Again – a solo from "Secured Limitations" (from the previous album) played once more in a slightly demo version. This is the second part meant to showcase each band member individually. Unfortunately, the bass instrumental was missing, as Tucker is not a team player. (14 - also transformation, and a lesson of a balance between freedom and responsibility - edit. note)

In addition to the official ones mentioned above, you can find even more hidden treats:

Inflections – a nice little guitar piece under number 30. (love and peace number - edit. note)

Tortured Souls – at number 35 we get sounds from "Place of Many Deaths". (35 - a change in life and the support of the... Angels? - edit. note)

Terror of MechaGodzilla Lava! – Track 41 contains a solo from “Praise the Strength”. The term “lava” is used by Trey specifically for guitar solos. The title of this track was supposed to be unknown, however, computer readers or DVDs are able to show under what title a given track was recorded as audio. (41 - support of the angels with the implemented changes in life - edit. note)

Triplet Lava!! – an unknown solo that can be found in track 42. Why such a choice? What does it mean? I don't know, but the end result is at least interesting. (42 - a powerful symbol of harmony - edit. note)

Doomcreeper (instrumental version of "Beneath the Hollow") – proof of how wonderful a work "Beneath the Hollow" is, to the extent that the band also included its instrumental version. There isn't a big difference, but honestly, I'm more interested in the unreleased vocal version of "Place of Many Deaths". Number 43. (important number, as it's a culmination of the previous two, and represents the increase of consciousness - edit. note)

Laff – the last track on the album (44) and the last "lava", that is, this time the final and true outro. Very expressive and concrete, even if short. In this way, we have reached the end of the journey called "Heretic". Personally, I would wish for more albums like this in life. (44 - perseverance - edit. note)

Freshness of the material: All the tracks are clean this time as well (although I don't know if Enshrined by Grace wasn't perhaps played earlier at concerts), but even here you can say that Trey worked hard, probably even more than before. The album was supposed to be a creation of the entire band and reflect the character of each member. One track was written together with Sandoval, who also created a few instrumentals. I rate the freshness as fully deserving 100%. This time the band really made an exceptional effort.

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And with this, we conclude the Morbid Angel series. I also have a written analysis for "Illud", but I have already shared my thoughts earlier, so there's no point in repeating myself.