Category: Music

Fuck. Have you ever tried to review a fucking Mastodon record?! It’s not easy! Imagine trying to untangle your headphones with no thumbs. Mastodon’s sound has always been a multi-layered and almost impossible to simplify into a five hundred word review and their latest release ‘Crack The Skye‘ is no different. Mastodon have been around propping up mega line-ups at heavy metal festivals and gigs for years now. Playing second fiddle to unspeakable shit like Machine Head (Yeah I said it….and fuck Rob Flynn, too!) and generally getting buried by the flavor of the month “metal bands”.

Of course, Mastodon have headlined their own shows, have their own base of die-hard fans and have released some seriously heavyweight metal albums in the forms of ‘Remission‘ and ‘Leviathan‘ but it is with ‘Crack The Skye‘ that Mastodon catch their fan base off guard with an album from way out of left field. While this album shows that the band have grown and will continue to evolve, die-hards need not worry. The ever present dueling vocals and guitars that encapsulate Mastodon’s trademark sound are ever present on this album but it’s the individual vocal talents of Brent Hinds and Troy Sanders that shine through as both opt for a cleaner, less distorted sound as is evident in album opener ‘Oblivion‘.

In a move away from the guitar driven metal records of the past, the band have experimented with various different instruments adding a ton of depth to the record. There is use of a vocoda on title track ‘Crack The Skye‘ the continuous use of a keyboard throughout the record and even the addition of a sodding banjo as in an intro to ‘Divinations‘. All of this is fused together by Brann Dailor’s drumming. His skill and technique are executed with such precision it’s not even funny. Sanders’ tech bass rounds off the rhythm section perfectly and it’s these two that really drive home the record in places where it could easily disappear up its own prog-metal arse. It’s the perfect accompaniment to Hinds’ and Bill Kelliher’s blistering axe-work.

The jewels in the crown are by far ‘The Czar‘ and ‘The Last Baron‘. Each an epic, ten min, opus to Rasputin and Czarist Russia. For those of you who did GCSE history, this should be a familiar subject. Both tracks are a weird mix of echoing mantras, melodic choruses and layered solos with added groove to boot. These tracks really show case what Mastodon are about. From the technical aspect of their sound to the epic riffs to the mythology behind the song writing. It all culminates in these two amazing pieces of music. I don’t know if the term ‘prog out’ exists but that’s exactly what I was doing when I first heard these awesome tracks.

‘Crack The Skye‘ seems much more calculated and focused in comparison to previous release ‘Blood Mountain‘ and I’m sure people will criticize how “polished” it sounds as well. I think that if you lose production values, the complex nature of Mastodon’s sound gets easily lost. Super producer Brendan O’Brian knows this and has worked with the band to produce one of their best albums to date. Many believe that this is the album that is going to give Mastodon the final push to the “next level”. I’m not so sure. Mastodon have always been at that level for many years in my eyes and if you didn’t get them before, why the fuck would you get them now? Either way, there is no other band out there today doing something as original and something as technically impressive as these four men from Atlanta.

Tom Lindsey.

The name may have changed [drop the MF then hit the caps lock] but the metal faced villain’s output hasn’t with this new solo album, the follow up to 2004’s MM..FOOD.

This album showcases everything that is great about DOOM both as a rapper and a producer with his ridiculously multi-dimensional lyrics flowing around the usual superhero styled samples whilst guest spots from the likes of Ghostface, Raekwon and Atmosphere’s Slug only help to enhance the high standard DOOM sets.

Even when he’s not producing, DOOM is able to rope in the likes of Dilla [R.I.P as always], Jake One and Madlib, all of whom are able to lace tracks which compliment the rapping on show. DOOM even sings on That’s That and though he’s off-key and clearly not a singer, it fits, proving there isn’t much that he can’t turn his hand to and make it sound dope.

The track you can hear is Gazillion Ear, produced by Dilla. Peep it by clicking above and see just why this album is the best thing Metal Face has done since Operation Doomsday.

Abjekt.

Isis is a band that have not only fronted but also defined the genre of atmospheric metal over their 12-year career. And their new album Wavering Radiant is going to take the genre into even more territory. This album is an accumulation of all of their accomplishments over their long and innovative lifespan.

Ear pounding riffs are heard throughout the record, as well as trademark whimsical soundscapes that only Isis could pull off are in there plenty. But who could forget the intense vocals that are more predominant in this album than anything I’ve ever heard from Isis. They don’t blend into the background like previous works and lyrical content seems more important to delivering the message of the album. The music is truly unpredictable, sometimes building up to nothing, teasing you. The depth and layers of the sounds are hypnotic, combining great musicianship and an array of instruments with polyrhythmic structure. You can listen to it over and over again finding something new each time, whether it’s a little guitar lick or a sound that makes the whole thing a little bit more epic.

The whole album technically is 7 songs although it is split into 4 sections, with each section being like a journey. Eventually building up to the pinnacle of Threshold of Transformation. For die-hard Isis fans this is far from a disappointment, sticking to the formula they are so greatly known for. However it seems to focus on the softer more ambient side of their music, which certainly makes them more accessible and should bring in a few fans. At this point in Isis’ career the fact that they have stuck to their guns and played the music they want to play without trying to innovate what is already innovative is a great achievement on their part, which should be celebrated by fans and music lovers alike.

If you are into Isis’ earlier music that’s more focused on down tuned instruments and heavier music you may be a bit shocked by this record. However I urge you too try and be open minded with the songs and appreciate the true beauty they’ve achieved with this record. Even the title track Wavering Radiant which sounds like a collection of lightsaber noises has its own artistry. Wavering Radiant is possibly Isis’ best effort yet and if you want to sit down to 54 minutes of musical refinement this is the one for you.

Jonathan Teggert

Strange, beautiful, mesmerising, perplexing and vast. These are all words that can describe Mono’s new album Hymn to the Immortal Wind. 10 years into their career, this is their 5th studio album produced by the legendary Steve Albini. Recorded completely onto analogue, which is a strange thing for a band these days, but this type of music needs analogue to capture the beauty in its simplicity. No instruments really stand out, there is no overproduction, and everything blends together into one concoction of sounds.

Guitars are tremolo picked with furiosity while the orchestra plays and the crash of cymbals is heard in the distance. I feel like I’m sat in the middle of the band playing with sound coming at me from all directions. There are no distinctions between the instruments and its genuinely like being in a concert hall. This however isn’t a bad thing, if this music wasn’t just a giant soundscape it would be, but for this it just seems natural and right. The music will build up into a climax of epic proportions then fade right back out into a space of very little sound.

The musicianship is fantastic as the sheer self-control and precision required to create such a fine piece of music is brilliant. The amount of time and effort the band must have put into this album definitely paid off. Every note is in perfect time, no beat is missed and everything works. It’s like classical music for a younger, alternative generation. With orchestras playing distorted concertos while guitars ring throughout. This isn’t music that you like its music that you appreciate; you can’t not sit down and listen to the album without having your mind blown apart.

Although this isn’t the kind of music I’d regularly listen too the album is a strange sort of catharsis. I feel like I have experienced a range of emotions, the music plays so strongly and effectively it’s unavoidable. The album could be put on as background music in your living room or you could sit there for the full length analysing every noise made. It works on so many different levels and if you’re willing to be open minded then it’s worth a listen.

Jonathan Teggert

Ever The Silver Cord Be Loosed is the new album from Brooklyn band Weird Owl. It’s nothing short of a psychedelic roller coaster taking your mind on ups and downs in strange and beautiful ways. Echoing through your brain like a vibrant acid trip.

The music is so clearly influenced by 60’s and 70’s psychedelic rock, combining bluesy guitars, somnolent vocals and spaced out synthesizers to create a sound that sends you off into a trance. The guitars are distorted, the solos are rockin’ and the beats are mellow. This kind of music hasn’t been done properly since the 70’s and only mildly influences bands now, with none really being true to the genre. But I feel that a lot of people will be glad to welcome it back especially when it’s being revived so well.

Even though you feel like you’re going on a trip to Woodstock the sound is still extremely coherent, as people need to chill out now more than ever. I feel that the band should attract an array of fans. From people who still carry the torch of psychedelia, to fans of more modern indie bands that take influence from this type of music. The plethora of sounds created on the album range from bands like Pink Floyd to the Pixies. Even the immensely popular Kings of Leon have a sound similar to Weird Owl at some points.

Songs like Do What The Owl Wilt and Skolopathing are like a sound that was created over 30 years ago but played in a new, raw way. The hallucinogenic music Weird Owl makes deserves to be popular as there’s a huge gap in the market for it right now. So if you want a lesson in mind expansion then listen to Ever The Silver Cord Be Loosed.

Jonathan Teggert