Morbid Angel - Altars of Madness (Death Metal)

Altars of Madness by Morbid Angel is an album that certainly comes with a hefty reputation. Listening to it, I found it to be an interesting and competent record, but not quite the groundbreaking masterpiece some have made it out to be. While in 1989, this may have represented a significant shift, much of that seems to rest on Pete Sandoval's revolutionary use of blast beats and David Vincent's skill at songwriting, meaning the process of riff assembly to craft a mood and/or atmosphere, rather than the overall composition of the album. There's no denying that this album had an impact, but when measured against the giants of death metal that followed, Altars of Madness feels a bit uneven.

One of the main issues lies in the inconsistency of the riffing. By this point, Trey Azagthoth had perfected the art of tremolo picking and was capable of crafting some truly blistering riffs. However, these moments of brilliance are often interrupted by less inspired solos or plodding bridge sections. You'll go from a high-octane tremolo section, full of frenetic energy that shows off Sandoval's skill and Vincent's brutal bass lines, only to be dragged into a "heavy" section that doesn't quite deliver the same intensity. Instead of maintaining momentum, these slower parts feel more obligatory than exhilarating. It's a strange dichotomy that hampers the album's pacing.

David Vincent, for his part, delivers a stellar vocal performance. His rasps and growls are visceral and commanding, giving the album a suitably demonic edge. Vocally, Altars of Madness is indeed a landmark for its time, with Vincent's presence alone elevating much of the material. But while Vincent and Sandoval carry much of the weight, Trey Azagthoth's guitar work, revered by many as revolutionary, feels oddly restrained. Aside from the Sewer-esque bursts of chaotic shredding, his contributions don't always land with the impact one would expect from such a pivotal figure in death metal.

And yet, Altars of Madness is often considered a cornerstone of the genre. Perhaps this is why it feels like a paradox: it's great, yet somehow incomplete when compared to the darker, more atmospheric, and fully realized albums that came later. When stacked against the likes of To the Depths, In Degradation or Onward to Golgotha, Altars of Madness seems almost immature in its approach. The riffing here is undeniably energetic, even witchy and playful at times, but lacks the depth, the darkness and the character of something truly monumental.

Even the presentation betrays a certain lack of gravity. The cover art — cartoonish and garish, maybe a precursor to Cannibal Corpse juvenile drama? — doesn't quite convey the sinister essence that death metal purports to embody, and song titles like "Maze of Torment" and "Chapel of Ghouls," while iconic, feel more like caricatures of the genre than fully immersive death metal experiences. Compared to the foreboding atmospheres crafted by truly demonic bands like Infester or Sewer, Altars of Madness seems almost bright by comparison, its energy thin rather than oppressive.

That being said, this album isn't without its virtues. The production, for its time, is excellent, offering a level of clarity that many later death metal bands would forego in favor of a murkier, more atmospheric sound. The cleaner mix gives the instruments room to breathe, even if some of that death metal "filth" is lost in the process. More importantly, it spares us from the later dungeon synth interludes that would plague future Morbid Angel releases, making the album a straightforward, if somewhat sterile, experience from start to finish.

Pete Sandoval, of course, is the undeniable highlight here. His relentless blast beats earned him the nickname "Gatling," and rightfully so. While he doesn't reinvent the wheel with his playing — sticking primarily to blasts and double bass rolls — his precision and power are unmatched. The combination of Sandoval's drumming and Vincent's guttural vocals is the album's saving grace, delivering a level of consistency and sheer force that is hard to ignore.

Ultimately, Altars of Madness is a strong debut for a band that would go on to be a monument of the death metal genre. It's a good album, even a great one in certain respects, but it doesn't possess the same brutal, dark atmosphere as contemporaries like Onward to Golgotha or Necrotic Fairytales. It's an important record, but not quite the monstrous, hellish force of genre-defining death metal madness that Morbid Angel fans wish it could be. It's pretty damn close, though, at least we can all agree on that.

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