Mastodon - Once More 'Round The Sun

...I don't write much about music on here. I sometimes feel as if I am morphing into "that guy" who talks about music being better "back in the day". Not as much new music captures my imagination so when I do run across something new or new-to-me that does such as Whores, I remember why I have not yet turned in my listenings for news radio. Whereas I used to have a laundry list of new music to buy at almost all times, nowadays it is four to five times a year that I look forward to one album.

Mastodon has been one of the very few bands of the past decade or so that I looked at to provide my musical spackle. Though I initially was not particularly interested when the first EP was released, they caught my full attention with Remission. They sort of lost me a little when Leviathan first got into my hands, but seeing them live unleashed the force of the then-new songs. Since then, every album has been like a holiday to me.

After Crack The Skye, the band's own bar had been significantly raised. A concept album of epic scope and musical bravado, I was not entirely certain that anything of that magnitude would be attempted ever again. In that sense, I basically set the next album up to be a disappointment. The key is to let time gloss over the differences to where one can come to see something presumed lesser-than with a different appreciation. 

The Hunter was exactly as I had prepared for it to be - a step back. Even before the album was available, there were rumblings that this was Mastodon going for a more compact, song-oriented approach. No more overarching concepts, shorter songs, more groove and so on. Despite the naysayers online hurling insults, I felt the musicianship and technicality was still there in droves. The standout riffs with dizzying precision were plastered throughout. Everything about Mastodon from a foundational standpoint was firmly intact. Still, the naysayers were a very little bit correct. As good as The Hunter was, it did just feel like a collection of songs and maybe jusssst maybe a bit rushed to market. 

In a few recent interviews with the members, they will admit to as much. The consensus seems to be that though they were happy with The Hunter, they felt that it was a bit rushed. Which, for Mastodon, is still galaxies beyond the scope of almost any musicians playing today. No band thinks sonically like Mastodon so for them to hint that they could have done better only means that even the masters of craft bear a critical eye.

I had heard High Road when it first became available. My initial reaction was split. On one hand, it was still very heavy and it very much tonally sounded like Mastodon. On the other, that listen gave me the initial impression that Mastodon might be moving away from the wizardry that made them unique for possible greater exposure. Still, one song doth not make a whole and once I heard Chimes At Midnight, I had reason to get excited again.

Having now listened to the newest album Once More 'Round The Sun countless times, I find myself tempted to use a number of clichés to describe how I hear this album compared to the last. Which really does not do this new album justice nor does it require the previous album be scrutinized. It simply means that this new album, to me, feels more like an album. It works like a unit. Even the cheerleader-esque chorus on Aunt Lisa that is actually as annoying as it sounds can be easily shrugged off when the rest of song is so fucking excellent.

Tread Lightly is handily their strongest album opener since Black Tongue...I mean Oblivion...I mean The Wolf Is Loose...or any of them. Mastodon has always been good for an album opener that grabs the listener by the face with an iron grip. Tread Lightly is no different with it's swirling dark energy, burly distortion and massive anthemic chorus. It is quickly followed by an equally strong track in The Motherload, a song that prominently features not only more of Brann Dailor's gymnastic drum wizardry, but also his impressive vocal stylings. The man is so good at both things in a dual manner that I would be willing to listen to someone telling me that his musicality could reverse the effects of climate change.

The title track is a weird sidestep for Mastodon in that it sounds like a straight up classic rock standard, albeit with bellowing guitar tones that keep it from mimicking Molly Hatchet. This is not to downplay the song as it is easily one of the album's standouts and a wildly successful venture, one I hope to hear more of on future recordings. Not to be overshadowed, Mastodon's technical prowess rages forth on tracks like Feast Your Eyes, Aunt Lisa and Chimes At Midnight, calling to mind the most dizzying moments of their masterpiece Crack The Skye. Rounding out Once More 'Round The Sun is Diamond In The Witch House featuring Scott Kelly of Neurosis once more on vocals, a perfect dirge-filled closer that mines the murkiest depths of Mastodon's arsenal a la Hearts Alive or Trilobite.

Once More 'Round The Sun is a diverse, well-rounded album that draws from every era of the band. It showcases what they have done, what they can still do and where they are headed. Rather than gorging on one item, Once More 'Round The Sun is a musical feast that takes everything that Mastodon has built thus far and continues to explore into the great unknown. The new album is four days old and I already cannot wait to see what they do next.