Atlanta's Mastodon were put together by
two former Today Is The Day's members
(guitarist Bill Kelliher and drummer Brann Dailor),
vocalist/guitarist Brent Hinds and bassist Troy Sanders.
Following in the footsteps of
Today Is The Day's
In The Eyes Of God,
they debuted with the EP Lifesblood (2001),
but it was Remission (2002) that introduced their passion for
cebebral metal and complex musical excursions.
The mood is at turns
agonizing (March of the Fire Ants, the guitar adding the melodic touch that the vocals shun),
brutal (Crusher Destroyer, Where Strides the Behemoth, Burning Man, Mother Puncher, Trampled Under Hoof, each with its own quirkiness),
anthemic (Workhorse, the emotional zenith),
and even romantic (Ol'e Nessie, the melodic zenith).
The longer compositions can be pensive and introspective
(Trilobite, Trainwreck)
while still packing a formidable punch.
The closing instrumental Elephant Man is even too mellow, bordering on
progressive muzak.
While influenced by Dillinger Escape Plan and
Meshuggah,
they sounded like a unique fusion of stoner-rock, jazzy progressive-rock and
southern boogie.
More than the guitars the real ace of Mastodon was drummer Brann Dailor, one
of the most versatile of the entire heavy-metal universe.
Leviathan (2004), a concept album loosely based on Melville's "Moby Dick",
was a work of relentless intensity, despite a slicker production and an obvious
penchant for melody.
While the previous album was basically a portfolio of songs in a broad spectrum
of registers, this one flowed organically from start to finish, each song
basically setting the tone for the following one.
The wild and barbaric Blood and Thunder, the mildly anthemic Seabeast,
the deranged Island,
the feverish and rabid Iron Tusk,
the fast grinding Megalodon,
were stages of a gradually more painful calvary, although the quiet
instrumental Joseph Merrick put an odd ending to it.
The musicianship was up to the task. For example,
the guitar and drums interplay at the beginning of Aqua Dementia is
simply spectacular, opening for a pounding hardcore-like rigmarole.
While insisting too much on the vocals,
the 13-minute Hearts Alive, the album's tour de force, represented the
culmination of their lightning-speed guitar improvisations, tempo-free drumming and noisy, intricate harmonies (as if Mastodon were applying the principles of free jazz to heavy metal).
The highlight of Blood Mountain (2006) is the lengthy progressive
instrumental ballad Pendulous Skin, featuring
Mars Volta's keyboardist Ikey Owens.
The ten shorter songs mainly display the acquired maturity of the musicians as
well as better production values.
The twin-guitar assault and Brann Dailor's acrobatic drumming balance each
other, injecting power into intelligence and viceversa.
Capillarian Crest, The Wolf is Loose and Crystal Skull
pack an impressive number of ideas in one song.
But it is the jazzcore instrumental Bladecatcher that puts the band above the crowd of prog-metal.
Call of the Mastodon (2006) is an anthology of their early recordings,
including Lifesblood (2001).
|
(Translation by/ Tradotto da Michele Mulas)
I Mastodon, da Atlanta, sono stati fondati da due ex membri dei
Today Is The Day
(il chitarrista Bill Kelliher e il batterista Brann Dailor), dal
cantante/chitarrista Brent Hinds e dal bassista Troy Sanders. Hanno
debuttato con l'EP Lifesblood (2001), ma è stato
Remission (2002) a introdurre la
loro passione per un metal cerebrale con lunghi excursus musicali
(gli strumentali Elephant Man e Train Wreck).
Influenzati da un lato da Dillinger
Escape Plan e Meshuggah,
suonano comunque come una miscela unica di stoner, jazzy-rock di
matrice progressive e boogie sudista.
Leviathan (2004), un concept album vagamente basato su
“Moby Dick” di Melville, faceva prevalentemente
affidamento su canzoni più corte, ad eccezione delle idee
creative dei 13 minuti di Hearts Alive.
Il punto forte di Blood Mountain (2006) è la lenta
ballata strumentale di matrice progressive Pendulous Skin, che
ospita il tastierista dei Mars Volta Ikey Owens. Le dieci canzoni più
corte mostrano principalmente un'acquisita maturità e una
migliore produzione. L'impatto delle due chitarre e il drumming
acrobatico di Brann Dailor si equilibrano a vicenda, iniettando
potere nell'intelligenza e viceversa. Capillarian Crest, The
Wolf is Loose e Crystal Skull stipano in singole canzoni
un numero impressionante di idee. Ma è lo strumentale di
stampo jazzcore Bladecatcher che porta la band al di sopra
della massa del prog-metal.
Call of the Mastodon (2006) è un'antologia delle
loro prime registrazioni, include Lifesblood (2001).
|