Morbid Angel
Domination

THE REVIEW

Released in 1995 (Earache), "Domination" marks the last studio album where the absolute greatness of that infernal individual, named David Vincent, could be witnessed.
The frontman of the "soft" angels ;-) offers fans his last great performance before leaving (or rather being kicked out of) the band, through this album, which we might consider a transition.
The contents, in fact, differ from any other album by the angels, both in themes, sounds, and rhythms.
A transition that a few years later would lead the Tampa combo to create their successors “Formulas Fatal to the Flesh” and “Gateways to Annihilation,” signs of a clear transformation for one of the pioneer bands of early death metal.
Mostly based on the themes of Sumerian mythology (complete with phrases sung in the ancient language), "Domination" is a mix of blasphemous and catastrophic atmospheres, set on slow and sick marches that good production (finally!) makes even more enjoyable.
This creates a damnably funereal environment, supported by the terrifying skill of the trio. And it matters little if the vampire Azagthoth, the generative mind of the legendary and unbelieving verb that the morbid angel professes, no longer churns out with primitive abundance the wicked riffs that made the early albums the precursors of such a vast genre. It is he who, along with the human metronome Sandoval and Vincent's demonic belch, gives shape and substance to tortuous and claustrophobic mid-tempo pieces and visceral riffs. The dark progression of the tracks serves as a backdrop to the inhuman advance of Dave's voice, supported by Pete's timing of the evil rhythms, an excellent companion even in the inconsistent moments of furious sonic restarts.
The suffocated voice, since time immemorial an ominous messenger of curses against religious hypocrisy and Christians, accompanies the album through those melodies born from the darkest part of the minds of three decadent and morbid personalities.

The bloodthirsty demeanor of “Dominate,” the impiety of “Hatework,” the morbidity of “Dawn of the Angry,” and the gem “Where the Slime Live” are the best tracks of “Domination,” the fourth chapter of the band that managed to create, by tempering the blind titanism of death, the unparalleled sound that consecrated them as the first reformers of the genre.