Domination (1995) - Morbid Angel

 

Tracklist:

1. Dominate (2:39)

2. Where the Slime Live (5:26)

3. Eyes to See, Ears to Hear (3:52)

4. Melting (1:21)

5. Nothing but Fear (4:31)

6. Dawn of the Angry (4:39)

7. This Means War (3:12)

8. Caesar's Palace (6:20)

9. Dreaming (2:18)

10. Inquisition (Burn with Me) (4:33)

11. Hatework (5:48)

Album Duration: 44:39

Genres: Death Metal, Old School Death Metal

Album Lineup:

David Vincent – Bass, Vocals

Trey Azagthoth – Guitars, Keyboards

Erik Rutan – Guitars, Keyboards

Pete Sandoval – Drums

Domination, released in 1995, is the fourth studio album by death metal legends Morbid Angel. Known for their dark, crushing sound and technically advanced musicianship, Morbid Angel took a more atmospheric and experimental approach with Domination. This album mixes brutal death metal with eerie soundscapes, giving it a haunting, otherworldly vibe. It’s an intense, aggressive record that takes the genre’s signature ferocity and adds a more theatrical, almost ritualistic layer to it.While earlier Morbid Angel albums leaned more heavily into the blistering speed and chaos of traditional death metal, Domination offers something darker and more menacing. It’s filled with crushing riffs, thunderous drums, and those classic, growling vocals from David Vincent, all while incorporating atmospheric elements like keyboards and slower, doomier sections that build tension. My favorite tracks from this album include Where the Slime Live, Eyes to See, Ears to Hear, Nothing but Fear, Dawn of the Angry, This Means War, Caesar's Palace, and Dreaming, mainly because of their unique atmospheres and relentless heaviness. Also Did I forget to Mention David's Vocals are fucking amazing???

Let’s break down the album track by track:

Dominate - The album kicks off with a bang. Dominate is short, fast, and to the point. It’s like a manifesto of control and power, setting the tone for what’s to come. The riffing is straightforward but menacing, and David Vincent’s vocals are as commanding as ever. The aggression here is palpable, and it feels like the band is issuing a war cry right out of the gate.

Where the Slime Live - Probably one of the most iconic tracks on the album, Where the Slime Live slows things down but doesn’t sacrifice any of the heaviness. It’s dark, brooding, and has a hypnotic, crawling pace. The song feels like a march into some grotesque underworld, with lyrics that paint a vivid picture of decay and corruption. Trey Azagthoth's solo work here is both eerie and captivating, adding layers to the song’s haunting atmosphere.

Eyes to See, Ears to Hear - This track ramps the speed back up with more chaotic, technical riffing. It’s a brutal onslaught that keeps you on edge, and while it’s not the most memorable track on the album, it showcases Morbid Angel’s technical prowess and ability to combine dissonance with precision. It’s like a barrage of sound that doesn’t let up, with Pete Sandoval’s relentless drumming driving it forward.

Melting - A short, instrumental interlude that serves as a breather amidst the chaos. It’s unsettling, with its droning guitars and creepy, atmospheric vibe. It doesn’t last long, but it gives the album a moment to shift gears.

Nothing but Fear - This track is pure rage. The riffing here is dense and suffocating, with Vincent growling about fear and control. There’s an almost industrial feel to the guitars, as they grind and crush through the song’s 4-and-a-half-minute runtime. It’s aggressive but also has these moments of eerie calm that make it feel like a descent into madness.

Dawn of the Angry - One of the standout tracks on the album. Dawn of the Angry is a furious anthem of defiance and wrath. The chorus is powerful, with Vincent shouting, “I am the wrathful god!” It’s a declaration of dominance, and the music backs it up with relentless riffing and some of the best drumming on the album. Sandoval’s double bass work is monstrous here, and the solos shred through the anger and aggression like a knife.

This Means War - Here, Morbid Angel leans into a more thrashy vibe. It’s fast, aggressive, and unrelenting, with a very militaristic feel to it. The song is like a battle march, with no room for subtlety. It’s straightforward but brutally effective, with a simple, driving riff that drills itself into your brain.

Caesar’s Palace - This song is a bit more experimental. It’s slower, doomier, and almost cinematic in its approach. The lyrics paint a picture of grandeur and excess, but there’s a sense of decay underlying it all. The guitar work is majestic but sinister, with Trey Azagthoth crafting melodies that feel like they belong in a twisted epic. Caesar’s Palace is one of the more atmospheric tracks on the album, and its length allows it to build and evolve in a way that feels grandiose yet darkly introspective.

Dreaming - Another brief instrumental interlude, Dreaming is all atmosphere. It’s eerie and dream-like, but there’s an underlying sense of dread that makes it unsettling. It feels like a prelude to something even darker.

Inquisition (Burn with Me) - The album shifts back into high gear with Inquisition (Burn with Me). It’s fast, brutal, and chaotic, with Vincent’s vocals taking on an almost ritualistic tone. The song feels like a call to arms, with its aggressive pace and unrelenting riffing. The lyrics are cryptic but seem to deal with themes of rebellion and damnation, making it one of the more intense tracks on the record.

Hatework - Hatework closes the album on a massive, ominous note. It’s slower and more atmospheric, building tension with its droning guitars and sinister vocals. The keyboards add an almost orchestral layer to the song, giving it a grand, apocalyptic feel. The slow burn of this track makes it a fitting closer, as it leaves you with a sense of dread and finality.

Morbid Angel’s Domination is a brutal, atmospheric journey that blends the technical ferocity of death metal with dark, otherworldly vibes. It’s an album that pushes boundaries while staying true to the band’s core sound. The slower, doomier sections give the album a unique identity, making it stand out from the more straightforward death metal records of the time. If you haven’t given it a full listen yet, I highly recommend diving into this album-it’s a dark, twisted masterpiece that perfectly balances aggression with atmosphere. Domination is a pivotal release in Morbid Angel’s catalog, and it shows why they’re one of the most influential bands in death metal history. Their ability to create music that’s both brutally intense and sonically complex is unmatched, and this album is a testament to their legacy. I think it's a shame that David left Morbid Angel after Domination, for me personally, Morbid Angel's work after Domination seemed a little bleak but Gateways to Annihilation is also a good comeback to their original sound after years. I think I will either write about Reduced to Ashes by Deeds of Flesh or Extermination of Millions by Inveracity tomorrow. :P