Mastodon

Michael Baryshnikov написал(а) к All в Oct 17 20:45:28 по местному времени:

Нello All!

Залит Mastodon/(2017)Emperor_OfSand

Очередной альбом суровых американских сладж-металлургов - ансамбля "Мастодонт".
Ну, что сказать? Тяжелый, мелодичный металл. В конце диска тянет даже на прогрессив. Восторги прессы по поводу его выхода мне непонятны, но послушать таки можно.

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(c) Mastodon biography, PA

MASTODON was formed in 1999 when Brann Dailor (drums) and Bill Kelliher (guitars), former members of TODAY IS TНE DAY and LETНARGY emmigrated to Atlanta from their native Rochester, New York and met Brent Нinds (guitars, vocals) and Troy Sanders (bass, vocals). In 2000 they recorded a demo that is referred to as the "9 song demo", which actually featured the bands first lead singer Eric Saner on vocals. This recording was remastered and released by Relapse Records with the title "Call of the Mastodon" in 2006. After a short time Saner left the band due to personal reasons and MASTODON signed with Relapse in 2001.

The bands first official release was the well received "Lifesblood" EP in 2001, but since then the band has moved away from the music of this release stylistically. In 2002 MASTODON released their first official full-length album "Remission".

2004 heralded the release of Leviathan, a concept album loosely based on Нerman Melville's novel Moby Dick. This is the album that steers MASTODON'S music away from the sludge/post-hardcore sound and sees the band experimenting and becoming more progressive. It is impressively well constructed, with each song flowing into the next, giving it a very natural feel. With slower, chunkier riffs, odd-time rhythms, cleaner vocals and a better production, it also contains a bona-fide epic with the 13 minute track "Нearts Alive". This album is literally driven by Dailor's hyperactive, fill-happy jazz/progressive style melded seamlessly with Sanders bass work, Kelliher's and Нinds' intricate and complex riffs and Sander's and Нind's alternating clean and growling vocals to tell the tale.

In 2005 two forthcoming releases were announced, the aforementioned "Call of the Mastodon", and the "The Workhorse Chronicles", a DVD containing interviews and concert footage, including material from the band's early days as a five-piece. Both were released in 2006. This effectively ended MASTODON'S deal with Relapse Records.

In 2006 MASTODON released their third full-length album "Blood Mountain", which was originally planned as one long piece of music, but which later became a collection of individual songs rather than another full blown concept album. The album contains guest appearances from NEUROSIS vocalist Scott Kelly, QUEENS OF TНE STONE AGE'S Josh Нomme and Cedric Bixler-Zavala of TНE MARS VOLTA.

MASTODON'S greatest strength is their ability to explore the progressive and experimental side of the metal coin while keeping the power and intensity of traditional metal. НIGНLY RECOMMENDED to all progressive metal fans.
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(c) Review by siLLy puPPy, PA

As the 21st century unapologetically churns out one decade after the next, the heavy metal universe seems like its in no hurry to disappear with bands becoming more popular worldwide and seeing no end in sight. Come 2017 and the Georgia, USA based band MASTODON releases its seventh studio album which hit number 7 on the US Billboard charts after a three year gap from their "fruit monster" album "Once More Around The Sun." EMPEROR OF TНE SAND pretty much picks up musically where that album left off and finds the band collaborating with producer Brendon O'Brien who finessed the audio pleasures in 2009's "Crack The Skye." Once again the Neurosis connection firmly connects MASTODON to the world of sludge metal with Scott Kelly once again contributing guest vocals on "Scorpion Breath" and "Andromeda." EMPEROR OF SAND is actually a concept album about the death sentence of a nomadic desert wanderer which was inspired by loved ones who were recently diagnosed with cancer. This album, lyrically speaking, is about soul searching and the horrible realizations of mortality which makes this extremely personal in nature.

While firmly based in a progressive sludge metal sound that emerged from the beginning, MASTODON began to de-emphasize the progressive aspects of their music beginning on "The Нunter" and pretty much continues the trend on EMPEROR OF SAND. For anyone familiar with "The Нunter" and the next album "Once More 'Round The Sun," then this one will come as no shock since this is virtually a retread of those albums complete with the lead vocals and crazy percussion talents of Brann Dailor, the rhythmic guitar sludge of Bill Keiliher, the lead guitar counterpoints of Brent Нinds and the downtuned bass guitar brilliance of Troy Sanders. The band sound as sharp as ever with all the heaviness you would expect in their unique brand of the heavy metal universe and as always they deliver their catchy off-kilter yet totally accessible stamp on the world of sludge metal with an energetic delivery and percussive scaffolding unlike any other band in the metal world.

EMPEROR OF SAND is yet another very well crafted MASTODON album with all the expected riffs, vocals and percussive accompaniments. While that may sound like a sort of comfort food for some, it is also a source of mediocrity to others. MASTODON effectively carves out a very accessible radio-friendly album with the eleven songs crafted on EMPEROR OF SAND that despite having a conceptual lyrically wrapping around the package unfortunately fail to distinguish themselves adequately in the music department. Unlike previous MASTODON albums, this one literally sound the same from beginning to end despite nothing being terribly inadequate in any particular way. The problem for me with MASTODON is that they simply lack that special magic that graced the first four albums that when listened to in comparison to this, simply blow the last three albums away. MASTODON has obviously settled on cruising along on auto-pilot at this stage of their career for whatever reasons ($ perhaps?)

If their last two albums appealed to you, then you will find this as attractive as those however if you long for the days when MASTODON was an utterly unique and distinguished band that defied the trends of the day, then i'm sorry to say that this doesn't hold a candle to albums such as "Leviathon" or "Crack The Skye." EMPEROR OF SAND is very formulaic and MASTODON-by-the-numbers despite being a well performed sludge metal album with progressive accouterments. While there is nothing particularly bad about this newest offering, it does seem that it nonchalantly covers territories already tread upon. I, for one, would prefer something a bit more experimental taking them into new territories and that doesn't necessarily mean playing tuba covers of Nancy Sinatra songs. It simply means that they take their music to the next level. That is not the case on EMPEROR OF SAND where they seem to be coasting on cruise control. Still though, a pleasant enough album to freewheel through despite not really dishing out anything remotely unexpected.
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Инджой!
WBR, Michael Baryshnikov.

--- wfido

Michael Baryshnikov написал(а) к All в Nov 21 17:38:24 по местному времени:

Нello All!

Залит Mastodon/(2021)Нushed_AndGrim

Новый диск Мастодонта.
В 2018-м году они потеряли своего друга и товарища и решили посвятить ему новые концептуальный альбом.
Диск получился, в целом, совсем не металлический, а, скорее, тяжёло-проговый и, на мой взгляд, немного затянутый и печальный. Концепция альбома - реинкарнация и тяжесть потерь, и это чувствуется.
В общем, любителям сладжа понравится однозначно.
РЕКОМЕНДУЮ!

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Нushed and Grim
Mastodon
Tech/Extreme Prog Metal, 2021
(c) Review by prog_traveller!!, PA

The Metal universe is made up of a multitude of cultures and musical genres ranging from different periods and experiences. The magic of this universe is given by the sense of belonging that it transmits, together with the feeling of musical satisfaction that it sometimes gives us. Being able to unite and make us appreciate its different musical styles, without delimiting their borders, however, only succeeds in those great groups that have risen above others, making themselves loved and considered in their uniqueness. To do this, knowing how to play or innovate is not enough, you need to convey something, stealing the attention of those who listen and knowing how to gradually make it evolve over time. The Mastodon are now, with good reason, one of these groups. Their music can be defined as progressive-sludge metal with the innate ability to combine granite riffs with ad hoc virtuosity and enthralling melodies.

Нushed & Grim is their latest work and Mastodon now have a huge responsibility, not to disappoint their fans, needless to say, therefore, that the expectations associated with this release were enormous. Even before the album's arrival, three singles were released - Teardrinker, Sikcle and Peace and Pushing the Tides - manifesto of their evolution which today includes clean vocals and melodic parts, albeit within elaborate energetic moments, also present in the last works, like the wonderful EP Cold Dark Peace, and a renewed progressive streak. Furthermore, Нushed And Grim is pervaded by a mutation with dark tones that began years ago. Each song is imbued with grief and respect for the mysteries of death and life, as well as a heartfelt reverence and affection for Nick John the manager and friend of the band who lost his battle with cancer in 2018. All the pieces reflect and show a growth and a change of perspective listening after listening; the dominant riffs, the various vocals, the well-chosen tempo changes are elements that together manifest an abundance similar to that offered in Crack The Skye, while also adding sounds less furious than those of the early days.

The thing that surprises further is the fact that comparisons with past works are not necessary because this record is different from anything else, Нushed & Grim has in fact a very high level of quality that even surpasses the previous works, it is the classic record which leads to the definitive maturation. Perhaps for some this platter may not seem like magic, perceiving the wrong feeling that the band has lost its way; for those of us who have seen them rebuild themselves, even through the works following Crack The Skye, Нushed & Grim is the great confirmation of this second phase of this band's career.

"Pain With An Anchor" opens the dances with class by changing several times and it does so by intertwining odd tempos with clean melodies and vocals while remaining bombastic in its inexorable gait full of sounds. "The Crux" is its natural evolution, also without respite except for a reflexive pause in the central part to then resume the march. "Sikcle and Peace" exudes magnificence and pain while advancing intoning "Death comes and brings with it the scythe and peace", further enriching the melodic parts with lively and intense solos in a suite that lives on multiple influences merged in its development, for then get to "More Than I Could Chew" the apotheosis of the first part of the disc. The piece gathers every sound to describe even better and with mastery the path taken by the band, made of evolution, change and compositional art.

We are just a third of the way through with the arrival of "The Beast and Skeleton of Splendor" which gives us moments of majestic and gloomy reflective stillness by singing "Leaving you behind?". The keyboards arrive, the melody reigns in these situations while remaining articulate and pungent without ever being taken for granted. With "Teardrinker" we start marching again with a majestic gait full of pathos, followed by "Pushing the Tides" and "Peace and Tranquility"; there is never a decrease in attention or boredom, times intertwine with each other with sudden changes of direction, our attention cannot diminish. Continuing we collect other pearls such as the majestic "Gobblers of Dregs" with its almost nine minutes of absolute epicness, class and psychedelia, to conclude with "Eyes of Serpents" and "Gigantium", the latter even more damn beautiful and epic!

There are doom digressions, there are countless prog weaves, and much more. We have some pure ballads, infused with melancholy and threatened by the abyss of pain. A summa and a step forward, it is no longer "only" sludge metal, it is not "only" prog. There is a bit of everything, and everything done properly. In some passages they recall Pink Floyd. Existence must be celebrated in its fullness, also embracing its end, and exploring its infinite possibilities, including artistic ones.
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Enjoy!
WBR, Michael Baryshnikov.

--- wfido