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Metal - Released December 1, 2017 | Silver Lining Music

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Rock - Released August 18, 1991 | Earache Records Ltd

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Rock - Released November 4, 2013 | Earache Records Ltd

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Rock - Released May 13, 2016 | Earache Records Ltd

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Rock - Released March 25, 2009 | Earache Records Ltd

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Metal - Released June 6, 2011 | Season of Mist

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Rock - Released March 25, 2009 | Earache Records Ltd

Few albums struck a chord within the ears and minds of the late-'80s underground metal scene like Morbid Angel's Altars of Madness did at the end of the decade, setting a new precedent for metal bands to reach. With the arguable exception of Chuck Schuldiner's Death, never before had a heavy metal band carried their lightning-fast guitar riffs and equally spellbinding guitar solos into such horrific territory. Venom and Slayer redefined the extent to which a metal band could align itself with all things evil during the beginning of the decade, but Morbid Angel made these two groups sound like children's music compared to the Florida-based group's assaulting death metal sounds and their blasphemous lyrics. Bassist David Vincent took inspiration from the developing grindcore scene in England and from fellow Floridian Shuldiner for his snarling vocals. And if Vincent's monstrous vocals aren't scary enough, the band's musical onslaught will surely send children and parents running away in fear. Guitarists Trey Azagthoth and Richard Brunelle construct some ridiculously fast-paced riffs and lay down some jaw-dropping solos as if the music is being played in fast-forward mode; similarly, drummer Pete Sandoval challenges one's perception of how fast a drummer can possibly drum. In the end, though, what made the group so influential to the burgeoning death metal scene of the '90s was not so much the group's groundbreaking template for death metal -- Death had already set the precedent for the musical style on the group's 1987 Scream Bloody Gore album -- but rather Vincent and Azagthoth's near Satanic lyrics that seem far too sincere to be a pose. It wouldn't be long before an entire new style of heavy metal called black metal would arise in Northern Europe in the early to mid-'90s around bands such as Emperor and Cradle of Filth, who initially took a large portion of their Satanic motifs from this album. Even though later Morbid Angel albums made this debut sound amateur in terms of sound quality and creativity, one cannot deny its influence. © Jason Birchmeier /TiVo
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Rock - Released March 25, 2009 | Earache Records Ltd

Gateways to Annihilation is a continuing statement of purpose from Morbid Angel: "We are an uncompromising death metal machine." The disc isn't a tremendous leap in style for the band, but is rather a refinement of their brutal craft. They sound like accomplished musicians throughout, creating a soundtrack of utter torment and famine. The group can blow heads off with their speed, as on "To the Victor the Spoils," and also drag bodies through mid-tempo muck, exemplified on "At One With Nothing." When the two approaches meet up, as on "Opening of the Gates," the result is blistering. This track is particularly indicative of Morbid Angel's strength of composition, rife with the sort of tight, intelligent dynamics that mark the album. And of course, lead player Trey Azagoth pushes the envelope all over the place, his trebly explorations of the astral plane offering relief from the band's thuggish bottom-end. The creative and fierce Gateways to Annihilation is textbook Morbid Angel, another triumph for longtime fans and an excellent starting point for new listeners. © Matthew Kantor /TiVo
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Rock - Released March 25, 2009 | Earache Records Ltd

Although the band hasn't actually changed its modus operandi, Morbid Angel has been able to strengthen and deepen their death metal over the years. One listen to Formulas Fatal to the Flesh makes that clear. At its core, it's death metal, but the group demonstrates more imagination and pure force than almost any of its contemporaries. Not only is Trey Azagthoth's guitar monstrously powerful, but the rhythm section of drummer Pete Sandoval and new bassist/vocalist Stephen Tucker manages to be simultaneously nimble and pummeling. Also, the group has written some of their strongest songs to date -- nothing here relies on pure riffage alone. The end result of the musical and writing vision is one hell of an album and possibly their best record to date. © Stephen Thomas Erlewine /TiVo
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Rock - Released March 25, 2009 | Earache Records Ltd

Morbid Angel had impressed many with Altars of Madness, but they still hadn't climbed into the upper class of death metal bands until this record. Overshadowed by great albums from Sepultura, Entombed, and Carcass the same year, Morbid Angel still managed to solidify their reputation as a heavy metal maelstrom with the 13 tracks found here. Songs like "Thy Kingdom Come," "Brainstorm," and the redundantly titled "Unholy Blasphemies" would go on to become cult favorites in the metal underworld, while "The Ancient Ones" became their first true anthem, as it covered the drug-fueled religious theories of guitarist Trey Azagthoth. Despite his unusual beliefs, his playing is on par with the best the genre has to offer, shredding through these songs with an unbelievable ease and dexterity that brings to mind his guitar hero, Eddie Van Halen. This unique approach to the genre is definitely what makes this band more memorable, although the simple fact that they bothered to write semi-catchy songs and had a fantastic vocalist in David Vincent did not hurt matters one bit. The album is short, to the point, and doesn't waste time noodling on forgetable riffs and needless tempo changes the way so many of their contemporaries did. Still sounding vicious, Blessed Are the Sick is an unheralded classic in the short-lived but rewarding first wave of death metal. © Bradley Torreano /TiVo
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Metal - Released April 25, 1995 | Rhino - Warner Bros.

Guitarist Erik Rutan joins the fold on Morbid Angel's Domination and contributes several of his own compositions. The group's sound is better than ever and perhaps a bit more groove-oriented, but this is mostly standard Morbid Angel, with the typical problems: the bass drums are played too fast to be recorded properly and end up sounding like a fast clicking underneath the songs. There is also very little variation on the band's signature sound, and since they rarely give themselves or the audience a rest, their intensity often borders on self-caricature. This will either be just what you want or will strike you as irritating and comically overdone. © Steve Huey /TiVo
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Metal - Released December 1, 2017 | Silver Lining Music

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Rock - Released March 25, 2009 | Earache Records Ltd

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Rock - Released March 25, 2009 | Earache Records Ltd

Few death metal bands live on as long as Morbid Angel. Over the years, the Florida headbangers changed labels, parted way with their lead singer, and endured varying levels of popularity as their style of music fell in and out of favor among metalheads. Yet despite all the ups and downs over the years, Morbid Angel continued to make music, record albums, and tour extensively. In fact, before the release of Heretic in 2003, they'd toured America with the mighty Pantera and garnered more mass-market exposure than they ever had previously. It's not really a surprise then that Heretic sounds so lively. Veterans or not, Morbid Angel are anything but short on enthusiasm here. Their musicianship is as inventive as ever, especially that of guitar-god Trey Azagthoth, and their songwriting as impassioned as ever, especially that of lyricist/vocalist/bassist Steve Tucker. This is the sound of a band on a mission, a band with a sense of purpose. It helps also that Morbid Angel do more than just thrash away, though of course they still do plenty of that. While their songs are downright relentless, never slowing down even for the occasional mid-tempo bridge or solo, they do slide a few quiet interludes into the latter half of Heretic, some nice moments of eerie respite. Then there's the myriad hidden tracks that follow the 14-track album itself, most of which are nothing more than five to ten seconds of silence yet some of which sound much like the instrumental interludes found within the album proper. A bonus disc is filled with more similarly interspersed untitled tracks of silence and instrumental song-idea throwaways. While all of this suggests that Morbid Angel are triumphantly striding through yet another prime era of their up-and-down career, it doesn't mean that they've reinvented the wheel. They're still blasting out death metal in its purest sense if you discount their experimental interludes and bonus tracks, and while that's good news for purists, those looking for cutting-edge death metal aren't going to find anything revolutionary here. Morbid Angel helped establish the old-school death metal style back in the day, and they've kept that flame alive ever since, with albums like Heretic shining a bit brighter in the metal underground than others. © Jason Birchmeier /TiVo
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Metal - Released December 1, 2017 | Silver Lining Music

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Metal - Released June 22, 1993 | Rhino - Warner Records

Covenant started to bring Morbid Angel up out of the underground, as MTV gave them wider exposure on its late Headbanger's Ball. Guitarist Trey Azagthoth plays complicated, heavily detuned riffs, some with a lightning-fast picking style and others in a slower groove. Drummer Pete Sandoval is one of the genre's fastest, and his jackhammer style helps complete Morbid Angel's core sound. Their incredible chops and nonstop intensity may be exactly what you've been looking for, or you may find the lack of variation wearisome. © Steve Huey /TiVo
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Electronic - Released November 10, 2012 | Season of Mist

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Metal - Released April 3, 2012 | Season of Mist

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Rock - Released March 25, 2009 | Earache Records Ltd

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Metal - Released November 10, 2012 | Season of Mist