In the smoldering ashes of 1989, as the Berlin Wall crumbled and the world held its breath, MORGOTH unleashed "Resurrection Absurd," their debut EP, a guttural roar from the heart of a changing Germany. This wasn't just another death metal record; it was a sonic exorcism, a reflection of a nation wrestling with its demons.
Forget the sunshine and rainbows of California death metal. MORGOTH's sound was bleak, nihilistic, and drenched in the anxieties of a country still haunted by its past. This was music born in the bombed-out ruins of post-war Germany, a soundtrack to a generation grappling with the weight of history.
"Resurrection Absurd" was a relentless assault on the senses. Marc Grewe's vocals were a tortured howl, tearing through the mix like a banshee. The guitars were a buzzsaw symphony of dissonance and chaos, while the drums pounded with the relentless fury of a jackhammer. This wasn't music for the faint of heart; it was a visceral, uncompromising experience.
But beneath the sonic brutality, there was a glimmer of something more. MORGOTH weren't afraid to experiment, incorporating eerie keyboard melodies and atmospheric interludes into their sonic onslaught. This was death metal with a touch of gothic grandeur, a hint of the darkness lurking beneath the surface.
Of course, no discussion of MORGOTH would be complete without mentioning the controversy that surrounded them. Some accused the band of harboring neo-Nazi sympathies, their lyrics and imagery tapping into the darker side of German history. The band vehemently denied these accusations, claiming their music was a reflection of the human condition, not a political statement.
Whether you believe them or not, there's no denying the impact "Resurrection Absurd" had on the death metal scene. It was a raw, unfiltered expression of rage and despair, a sonic middle finger to a world on the brink of change.
Produced by the legendary Harris Johns (who also worked with Sodom, Kreator, and Voivod) and recorded at Musiclab Studio in Berlin, "Resurrection Absurd" captured the raw energy of MORGOTH's live performances. Johns' signature sound, with its emphasis on crunchy guitars and thunderous drums, perfectly complemented the band's aggressive style.
"Resurrection Absurd" was more than just a debut EP; it was a statement of intent. MORGOTH weren't content to simply regurgitate the clichés of American death metal. They were carving their own path, forging a sound that was both brutal and introspective, a reflection of their own turbulent reality.
In the end, "Resurrection Absurd" remains a landmark release in the history of German death metal. It's a testament to the power of extreme music to channel the anxieties of a generation, to give voice to the unspoken fears and frustrations of a nation in flux. It's a reminder that even in the darkest of times, there's still room for catharsis and rebellion. And that's something worth screaming about.
