Customer Reviews

Gateways to Annihilation

5 star:		(30)
4 star:		(13)
3 star:		(8)
2 star:		(2)
1 star:		(7)

 

 

Anyone using these reviews as a reference to decide which Morbid Angel albums to buy is bound to be a little confused, since there is such a difference of opinion as to which album is the best, and why. Putting aside earlier albums, Altars of Madness and Covenant, which seem to be considered by most to be their best albums, I'm going to focus on FFF and Gateways as examples of Morbid Angel's "art" at it's most mature and developed. As a relative newcomer to Morbid Angel, I'm going to attempt to clear up the confusion a bit by sticking to some of the facts that are less open to a wide range of opinions, than others.

There are several common threads in the reviews of Gateway: it's slower; it's heavier; Steve Tucker's voice is better than on FFF; Trey's solos are better (or not as good, depending on the reviewer); the engineering on Gateways is better/worse than FFF, depending on which review you read (although most seem to give the production nod to Gateways). When you compare these albums it seems obvious that MA's intent was for the two to be very different.

Firstly, there's no question that Gateways has slower songs overall, so if you insist upon a Death Metal album that's mostly played at breakneck speed, you may very well be disappointed with Gateways. However, if you can deal with some slower tempos, I think that the people who say that Gateways is heavier are right. This has some of the HEAVIEST guitar sounds you will ever here on a metal recording, almost sounding a little like down-tuned "doom metal" in some places, owing partly to the fact that the sound production is not quite as thick on Gateways, which gives the lower, deeper sounds more room to resonate. You might think that a thicker, more opaque recording always makes for a heavier sound, but Morbid Angel knows its stuff well enough to know that if you really want some depth to the sound, you need a little transparency, and the low guitar chords on this recording have an almost subterranean depth. The other reason the guitar sound is heavier is that Eric Rutan is back after Trey handled all of the guitars on FFF; and having the second guitar definitely makes for a heavier sound here. It seems that the one guitar approach on FFF was geared toward creating one of MA's fastest albums, whereas they decided to follow that up with perhaps their heaviest. I really like how fast Trey and Pete "air out" the guitar and drums on FFF (nowhere has Sandoval sounded more like his nickname, "Commando"), but I also really enjoy the interplay of Trey and Eric on Gateways, and the almost seismic heaviness of the guitar sound they produce. With regard to the guitar solos, again, it's a question of whether or not you insist upon nothing but fast solos. Trey's solos tend to be faster and shorter on FFF, but they tend to be longer and more developed with some great, arcane-sounding eastern modalities that are even more evident than on FFF. Rutan gets into the act with some good solos as well, and I personally favor a dual guitar approach myself, especially when it includes some dual soloing.

Secondly, there's Tucker's voice. To me, he sounds a lot like Max Cavalera (ex-Sepultura)on Gateways, whereas he has a more generic Death Metal growl on FFF. Although I listen to quite a bit of DM, it's mostly for the guitars, and I've never cared much for most of the "vokills." However, I find Tucker's voice on Gateways to have developed more of a "style," and since Max C. has always been one of the few "extreme metal" vocalists that I can deal with, I definitely like Tucker's style on Gateways better. Also, the fact that the voice is less of a growl on Gateways means that you can hear the lyrics better, if you're into that (and Morbid Angel definitely has some of the "least mindless" lyrics in DM).

As far as the comments made by some reviewers about MA becoming more progressive or experimental, because of some of the instrumental interludes on these albums, I don't think this is much of an issue. Personally, I think most of these interludes are kind of cool, but if you don't like them, you can program them out and you've still got very full albums. I think the inclusion of these episodes lends some authenticity to the personal mythologies (Sumerian/Mesopotamian) that they're trying to explore with their music. The raw, primeval power of metal lends itself well to exploring the dark mysteries of a broad range of ancient mythologies, and I admire Morbid Angel for daring to move beyond the Satanic cliche' which many metal bands stay stuck in, and into more fertile and unexplored realms. I think that FFF and Gateways are easily Morbid Angel's best, and most developed, albums. It's really amazing that these guys have managed to stay on top of their game for so long, and these albums show that they are still the best at what they do.

this album could be seen as a let down to anyone expecting more classic death from this talented crew. however, that may have been an unrealistic expectation given the stresses, internal and external, that have been applied to the band and its members since their last release, "formulas..." the sound is smoother, less chaotic, very atmospheric (for death metal), but still aggressive. anyone looking for constant, frenzied soloing and over-the-top death metal should look elsewhere. here is offered a smoother sound with melodic soloing and more drawn out phrases. this is easily picked up (not the same as "easily listened to"), but perhaps not readily understood.

since their conception, morbid angel has, arguably, always had a differing conception of death metal with each album. in this regard, "gateways..." continues that trend thanks in large part to the lead guitarist and his spiritual path. while trey azagthoth (arguably the band's creative impetus) doesn't put much stock in the technical analysis of music, he places a large emphasis on the atmosphere of it and its creation; in his own words, "I go by feelings rather than the way it makes sense,"- a direct reflection of his recent philosophical bent. in light of this, it could then be seen as inappropriate to ask "what will trey do with death metal on the next album?" instead, the better question might be "where has death metal led trey?" therefore, it seems to me that morbid angel did not miss the mark, they just shot at a different target.

Is 'Gateways to Annihilation' Morbid Angel's best album? Perhaps not in terms of its position in the pantheon of Morbid Angel's seminal career. It would be foolish to compare 'Gateways' to 'Altars of Madness' or 'Covenant,' the two albums that seem to frequent most people's lists of all-time top death metal albums. Both albums, as well as the interim 'Blessed are the Sick,' were created when death metal was still new and fresh with 'Altars' being one of the first true American death metal albums. Nevertheless, I am of the opinion that 'Gateways to Annihilation' represents the most mature realization of Morbid Angel's hellishly atmospheric death metal.

The production is absolutely crushing in a way that only 'Domination' approached. The dual attack of Trey and Erik Rutan is clear as day but covered in a layer of sludge that roles like a tank. The layering of guitars creates a melodic feel throughout the album that is seems to exemplify musical evil in a way that few albums do. Morbid Angel has always featured relatively complex and thoughtful song compositions, but 'Gateways' sees the band in top form as it weaves track after track of songs deceivingly easy to swallow in their arrangement . As each track progresses, however, it seems as if you're swallowing a molten rock. And damn, does it taste good. I gave the album 95 instead of 100 for two minor reasons. At the album's mid section the songs tend to bleed into one another due to some recycled sounding riffs, but this is endemic in death metal it seems. In addition, the noise tracks that Trey or whomever in the band seems to like so much do nothing for the album.! They are short and few in number, but I could do without them interrupting an otherwise mindbending death metal experience.

Don't get caught up in arguments that toe the line which says that this album isn't good because it's from Morbid angel's post-1995 era. I will gladly concede that David Vincent is Morbid Angel's true and best vocalist, but his absence here is made up for by the musicianship, production, and song writing. Anyhow, I think Steve Tucker has a pretty kickass voice too and it fits the tone of 'Gateways' just fine.

Conclusion: To me, 'Gateways to Annihilation' represents one of the crowning achievements in death metal. Get at it.

Morbid Angel's Gateways To Annihilation is an under-rated masterpiece in my opinion...this album does not make them a "sell out"...a sell out to me is someone who COMPLETELY changes their style and sound for more money...in my opinion,Morbid Angel did not do that...they still have awesome guitar solos,Pete's drumming is still as amazing as ever,his double bass work on "Opening Of The Gates" sounds like it was played by some demonic cygborg drummer...Steve Tucker's vokills are higher-pitched than David's,but he does an amazing job,and his bass playing seems to be as good as if not better than David's,(when you can even hear either of them)...This cd has some amazing atmosphere too,it takes me on a twisted ride thru the cosmos...the artwork is worth mentoning too,it fits the music perfectly...this cd should be enjoyed in a dark room with headphones,it is really worth the time to listen to this masterpiece,highly recommmended!!! 13 stars out of 5!

Fantastic record!! The only album that tops Altar Of Madness. All songs are brutal, extreme, all mixed with enormous hate.
Amazing guitars, furious vocals, and fantastic drums!! This and Krisiun's Black Force Domain are everything a fan could ask!!
Great stuff. A must-have. Morbid Angel at they're best.

Never ones to comfortably rest upon their laurels, the Morbid ones have yet again given us a masterpeice of their crushing brand of death n' roll. Where they acquit themselves brilliantly is a lack of reliance on formula. Sure, there's atonal swirling guitar arpeggios , blasting and rhythmic terror from Commando Sandoval, thrashing, double bass and off-kilter lyrical content, but this is a band that understands the importance of variation and inspirational excellence. You can have your Slayer or your Cannibal Corpse or even Deicide, but none of them are quite as imaginative as these guys. Like I said, variation. You have the slow trudgy evisceration of tracks like Summoning Redemption and He who sleeps, Thrashers like To the Victor the Spoils and God of the forsaken, and then the Prog-metal like and simply beautiful At one with nothing and Secured limitations. Trey's shredding coupled with Erik's creates as one of you noted a true seismic heaviness which literally shakes one's head with it's crunching power. Soloing is as wacky and freestyle as ever, but never loose sounding and always making a twisted sort of sense. The triggers aside, bow down before the overlord of death metal drumming, Pete Sandoval. I saw these guys live recently, and I can attest that Pete does not cheat and is still possibly the fastest and most intricate blaster. Like Domination, Erik Rutan is given some writing opportunity- if you have any doubts about this man, just listen to his solo on God of the Forsaken. In conclusion, once again Florida's finest have triumphed. If you think Six Feet Under is ripping death Metal give this a listen- you won't be sorry.

This album is much different than any of the other MA albums, but that does'nt mean that they have'nt gone all out with their extreme music! This album has a lot of slimey, slugdey, groove type patterns. Just listen to "Summoning Redemption" or "At One With Nothing". And of course, there are several fast songs on this album that will just absolutely blow you away! Listen to Pete Sandoval's mind-boggling double bass beats on "Opening Of The Gates". I think his double bass on that song is the fastest that he's ever done on any album. And then there's "Secured Limitations" written and sung by Trey Azagthoth. Much different vocals on that song. And there's the song written by Erik Rutan called: "God Of The Forsaken". which is a really fast, dark and melodic song. Steve Tucker wrote all of the lyrics on this album except for "Secured Limitations". I do'nt have any one favorite song on this CD. I love every single song on this album for it's uniqueness, complexity, and overall heaviness that we have all come to know and love about Morbid Angel. Unfortunately, Steve Tucker is no longer with Morbid Angel since the beginning of the middle of the tour fro this album. Jared Anderson(who is Hate Eternal's bassist and back-up vocalist) has been filling in bass and vocals for Steve on this tour. I do not know if he is offically the new member of Morbid Angel but I'm hoping. All in all, if you're a hardcore MA fan, this CD is definitely for you.

Disapointment. That went through my mind when i first put this album in my cd player. The seconds wasting "Kawazu" leads into "Summoning Redemption", and my thoughts of this album still hadn't changed. But that has all changed. This album is great. Its genius lies in the fact that you WANT to listen to this over and over. It is a testament to great music making. A bit slow at first, but you will get over that when you discover "Ageless still i am" and the epic "Opening the Gates" which leads to the black metal tinged "Secured Limitations" and into "I". The solos are masterful and make you wonder how they are doing that to a guitar.. in other words, BUY IT!!!

My first impression upon listening through "Gateways..." the first time was minor disappointment in the overall slower tempo this album delivers. Most of the Pete Sandoval's blasting is regulated to sections within slower songs, which is quite a turnaround from their previous relase "Formulas..." (arguably the fastest album they've written). What this record lacks in speed though, in makes up for in other ways. The production is excellent. None of the previous Morbid Angel albums have ever sounded as massive as this. Also, Steve Tucker's vocal performance on this record is superior to his effort on "Formulas..." (which was nothing to scoff at in itself). The slow to midtempo tracks here allow Steve to deliver his lines with a conviction (ala David Vincent at his best) that was lacking on the last LP. Trey's guitar leads retain the otherworldy feel that his style has progressed into over the last few years. Pete's drum work is amazing, as usual. There's plenty of double bass, timing changes, complex fills, etc. The blasting that is present is also up to his normal standard. Most of the lyrics on the new LP have been penned by Steve instead of Trey - so the various shout-outs to Amah-Ushumgal-Anna and the gang have been kept to a minimum. As a whole, this LP retains many of the aspects the Morbid Angel sound that their fans have come to expect. My personal hope is that their "H" album restores more speed to the songs. They play fast music far too well not to.

I was somewhat skeptical about this album at first, because most other Morbid Angel albums have more tracks and I was used to David Vincent's vocals, but I was not let down AT ALL! This album is completely crushing. I might venture to say that it's my favorite album. The overall production of the album could not be any more brutal. Crushing guitar tone, with jazz like atonal guitar solos that bring you into a trance. The drums are not over triggered or under triggered so it sounds perfect. And let's not forget Steve Tucker. His sophomore album with Morbid Angel having the duties of bass and vocals. 2 thumbs up for sure. I think I prefer his vocals on this album than any one of David Vincent's. That is just my personal opinion. To me, he sounds like a refined/more brutal David Vincent. This album should be on the top of everyone's "to get" list because it is a very, VERY, solid death metal album!