The children must be fed… and then dismembered…
The adults must be fed, too… and transformed…
(We invite you to respond to Andy Synn’s invitation to fill in a certain alphabet…)
Unless you’ve been living under a rock recently, you’ll doubtless be aware that a little band called… Morbid fuckin’ Angel… just released their long-awaited and highly-anticipated – albeit with a certain amount of trepidation – new album, Kingdoms Disdained.
And while it’s not a total three-point-slam-dunk-home-run (I don’t know sports…) it’s still a solid album, replete with a bevy of stand-out tracks that go a long, long way towards redeeming the band’s slightly tarnished reputation.
Although I still contend that it should have been called Judas…
(Not long ago we posted Wil Cifer’s review of the new Morbid Angel album, which will be released on December 1st, and now we present his interview with Steve Tucker.)
With Morbid Angel’s new album Kingdoms Disdained continuing to grow on me, I am beginning to feel it’s their best work since Domination. So I jumped at the chance to talk to bassist/vocalist Steve Tucker and ask about what played into this return to their more vicious sound and what factors in the world today influenced the album’s thematic lyrical tone. Here is what was said.
(These are Wil Cifer’s initial thoughts about the new Morbid Angel album, which will be released on December 1 by Silver Lining Music.)
You can’t blame me or any long-time fans of this band for going into their 9th album with trepidation. Trey is the only original member. I hoped Pete Sandoval might come to his senses like a kid who learns Santa isn’t real and drop the Jesus thing to rejoin the band. But that was the wishful thinking of my inner 15-year-old. I never liked the Steve Tucker albums. They just sound like everyone else.
A few songs in, Tucker was still a hard sell for me even though he is certainly trying his fucking hardest here. The new drummer Scott Fuller won me over much earlier on with his aggressive assault.
The weekend is nearly upon us. And before we close the books on the work week and begin whatever we cook up for the site on Saturday and Sunday, I thought I’d collect a few recent and recently discovered items of interest — two items of news at the outset, and then five new songs. I should mention that we also have two more premieres coming today… don’t miss those!
Morbid Angel being the iconic band that they are, even their belching after a sumptuous meal would provoke strong and inconsistent reactions among a vast fan base. Just imagine the reactions to yesterday’s announcement of a new album, one whose name begins with a “K” and is framed by the cover art you see above.
I usually don’t read extended comment threads on the internet, unless they appear on this site, because it’s like walking at night through a park littered with dog turds where the owners didn’t have the common courtesy to put them in flaming bags. But I read a few yesterday on Morbid Angel’s announcement.
(One of our most frequent commenters and the alter ego of Godless Angel, djneibarger, answered our call for guest posts with this show review straight from Lawrence, Kansas, and photos.)
My introduction to Morbid Angel happened in 1993 courtesy of the music video for “Rapture”, the opening track from their seminal album, Covenant. The ominous imagery and savage, hypnotic pulse served as my gateway drug to the death metal scene. And although my interest in the band waned after the departure of David Vincent, that legendary album is still as mesmerizing to me now as it was twenty years ago. When it was announced that Morbid Angel would be performing the album in its entirety and that the tour would be making a stop in my hometown, I knew I had to be there to witness it.
On the night of October 10, 2012, I was in metal heaven, and the gods were all on stage: Morbid Angel, Dark Funeral, and Grave.
At times like this, I love living in Seattle even more than usual. The city is just big enough to draw tours like this one, but small enough that they get shoe-horned into venues like El Corazon. I’ve seen reports that El Corazon has a capacity of 750, but that must include the separate room where the main bar is located because there’s no way the room with the stage holds that many. Especially when the bar area in the concert room is blocked off and used for gear storage, as it was for this 21-and-over show, that room doesn’t look like it holds more than about 250 people.
And it wasn’t even packed to capacity for this show. Though the turnout was strong, it was still possible to maneuver pretty close to the stage, as I did, getting within about 10 feet from the front. The only drawback was that I forgot to bring my fucking camera, an oversight for which I will forever beat myself up. My companion took a few pics with her phone, and I’m using a few of the better ones to illustrate this review, but still . . . not the same.
I’ll just be honest and admit up-front that I had trouble maintaining objectivity about each of these bands. Completely separating the feelings of excitement-verging-on-awe that I felt from finally getting to see each of them live from my reactions to what I heard just isn’t possible. Grave, for example, is pretty much a band who can do no wrong in my book. They occupy a central place in metal history as one of the progenitors of Swedish death metal, yet they have not only survived for more than two decades, they continue to put out dependably strong albums, with this year’s Endless Procession of Souls (reviewed here) being no exception.
I’ve been doing actual paying work all morning. I took a break not long ago and cast my baleful eye around the interhole and my NCS e-mail box to see what there was to see and hear. And these are things I thought worth passing on.
First, that cover you see above is for a tribute album to Emperor called In Honour of Icon E, which will be released on June 25 by Metal Swamp. It’s a very nice piece of art, created by Wolkogniv of Folkingrimm Art.
It also looks like it will be a very nice album, with Emperor covers by the likes of Demonical, Helheim, Horna, Taake, and Setherial. I’ll give you the full tracklist rundown after the jump, but the news for today is that the album has gone up on Amqzon for pre-order, which means you can hear snippets of each song here.
(DemiGodRaven [ex-The Number of the Blog] rejoins us today for this piece of timely commentary.)
It’s on occasions like this when I tend to take pause for a bit and reflect upon things in life. Rarely do you find yourself putting pen to paper without any purpose other than to meander throughout the English language (or your language of choice) and as a result say absolutely nothing.
It’s as if your brain absolutely refuses to give you anything resembling a cognizant thought out of an almost inferno-like spite because you’re attempting to challenge the damned thing. Thus, you find yourself in the endless cycle of tapping your fingers on the table, pen on paper, and zero to show for it. The world spins on and suddenly a half hour has passed. Then it is a full hour, and there has been something in the back of your mind that resembles a constant buzz. It resembles white noise at best, and at worst it resembles something off of Morbid Angel’s latest release, and it occurs to you that you know the exact cause of what in the world has been preventing you from writing anything worth a fuck. There hasn’t been an amazing piece of work from Morbid Angel’s latest as of yet.
Well…until now that is.
This is Part 13 of our list of the most infectious extreme metal songs released this year. Each day until the list is finished, I’m posting two songs that made the cut. For more details about what this list is all about and how it was compiled, read the Introduction via this link. To see the selections that preceded this one, click the Category link on the right side of the page called MOST INFECTIOUS SONGS-2011.
Successful, immensely influential artists of long standing often find their creative freedom restricted by the shackles of their own success. What has worked in the past will likely work again, and that’s an insidious inducement to just repeat the pattern again and again. That’s the carrot, but there’s also a stick: Striking out onto a new path risks alienation of a dedicated fan base. Loyal adherents of an artist’s well-defined style may be too close-minded, too wedded to the past, to be receptive to experimentation.
Fortunately, not all successful artists fall prey to these carrot-and-stick inducements to stand pat. Some are brave enough and creative enough to throw off the shackles of their own success and strike out in brilliant new directions, to boldly go where others are too timid to tread. So it was with Morbid Angel’s 2011 album, Illud Divinum Insanus, which translates to “fuck you, we doin’ this thang anyway.”