David Vincent
“Illud Divinum Insanus”, the first Morbid Angel effort in eight years and the follow-up to 2003’s critically savaged “Heretic”, rightly continues to be subject of widespread scorn and derision. Dubbed an “experimental” and “genre-defining” masterpiece by the sycophantic metal press, it is a desperate attempt from a band well
Alan Yoshida
If one were to pinpoint the exact instance where Morbid Angel, the gold standard to which all things death metal was measured, started losing the plot musically 1995’s “Domination” would be the moment. After a recklessly violent debut, and two more deliberately paced successors the Tampa, Florida unit was
Arthur Edward Waite
“Covenant” is where Florida luminaries Morbid Angel reached the zenith of its writing. Building further upon the groundwork laid with the preceding album, the band sought to push boundaries on all fronts. Marred by interpersonal trouble during pre-production the band had something to prove, and “Covenant” sounds so much better
David Vincent
On their second album Morbid Angel defied expectations and went in the exact opposite direction of what was expected from them. Much more deliberately paced, and downright doomy in parts, “Blessed Are the Sick” is a much more ambitious and conceptually stronger release than its predecessor. Where “Altars Of Madness”
Dan Seagrave
The prematurely aborted “Abominations Of Desolation” session put back Florida death metal mavens Morbid Angel by a good three years. Interpersonal troubles, and an unsatisfactory studio experience in North Carolina had Azagthoth licking his wounds as he put together a new line-up for his project. “Altars Of Madness” is what
David Vincent
In between the disintegration of the “Abominations Of Desolation” line-up - which saw the ousting of drummer/vocalist Mike Browning and bass guitarist John Ortega - and its Earache debut, the band recorded a demo, and a single called “Thy Kingdom Come” to keep the name alive. For this session
David Vincent
The roots of death metal institution Morbid Angel can be traced by to its four central figureheads: lead guitarist George Emmanuel III (Trey Azagthoth), who was born in Bellingham, Washington but lived in the Tampa, Florida region and Charlotte, North Carolina native David Alexander Stuppnig (David Vincent) who was set