Morbid Angel
Altars Of Madness

THE REVIEW

In the late '80s, Thrash, which until then had represented the most extreme and authentic side of Heavy Metal, was heading towards its definitive decline, but like in a Wagnerian "Twilight of The Idols," Thrash was departing amidst the glows of a bright dusk, giving life to its ultimate masterpieces. Already with albums like "Reign in Blood," "Seven Churches," and "Pleasures to Kill," all the characteristics of this musical movement were contained in nuce, but it was only with "Scream Bloody Gore" and "Altars Of Madness" that Death definitively separated from Thrash and began to stand on its own legs.

It is precisely "Altars Of Madness" that can be considered the album that more than any other defines the very nature of the Death Metal phenomenon. Emanating from the sick minds, if only there were more "sick" minds like these on this little stone and water pebble that deludes itself of being unique in the Universe, of Trey Azagthoth, a guitarist unique in his genre by some considered the Malmsteen of extreme metal, but in my very humble opinion the Swedish jester is not worthy of cleaning his boots, Richard Brunelle, also a guitarist, drummer Pete Sandoval, still today the undefeated king of the double pedal, and Dave Vincent, singer and bassist worthy heir of Tom Araya in his best days.

Listening to this album is like delving into the dark recesses of the Human mind, in a universe where the truths we know no longer exist, where rationality has a short life, and where madness permeates your bones and frees the mind from the reality that binds and imprisons us. "Immortal Rites" and "Suffocation" guide us into a hell where there will be no Virgil to lead us by the hand towards the exit, with intricate riffs, pounding rhythms, and solos by Azagthoth that teach the power shredders how to play the guitar. The quality of the record, as if it weren't enough, improves exponentially as you progress in listening, showcasing gems of unheard violence such as "Blasphemy Of The Holy Ghost," "Maze Of Torment" that alternate with more thoughtful and "rotten" tracks like "Chapel Of Ghouls" (in which keyboards also make a brief appearance) or the Thrash-infused "Lord Of All Fevers And Plague". Even in their lyrics, Morbid Angel stand out, who, unlike most bands of the era, do not deal with horror/gore themes but explore the infinite literary universe created by H.P. Lovecraft, becoming symbolically its heralds. Bands like Black Sabbath, Metallica, or Iron Maiden had already addressed the works of the hermit from Providence, but Morbid Angel would elevate the visionary nature and the horrorific and dark charge that the Master knew how to infuse into his works to the highest levels.

Finally, a mention for the simply perfect production, and for the artwork, which in its simplicity perfectly explains the content of this work, a black bottomless pit in which the souls of the damned struggle and will never be granted salvation.