ALBUM REVIEW: Accept, “Symphonic Terror: Live at Wacken 2017”

By: Richard Maw

Album Type: Full Length

Date Released: 23/11/2018

Label: Nuclear Blast

 

Taken for what this is, though, I can say that “Symphonic Terror” is immensely enjoyable and entertaining.  The album represents a unique performance and demonstrates a band at the top of their game

 

“Symphonic Terror: Live at Wacken 2017” CD//DD//LP track listing:

CD 1:
1. Die by the Sword
2. Restless and Wild
3. Koolaid
4. Pandemic
5. Final Journey
6. Night on Bald Mountain
7. Scherzo
8. Romeo and Juliet
9. Pathétique
10. Double Cello Concerto in G Minor
11. Symphony NO. 40 inG Minor

CD 2:
1. Princess of the Dawn
2. Stalingrad
3. Dark Side of My Heart
4. Breaker
5. Shadow Soldiers
6. Dying Breed
7. Fast as a Shark
8. Metal Heart
9. Teutonic Terror
10. Balls to the Wall

The Review:

Accept, as of last week, are now down to one original member- Wolf Hoffman. However, for this unique 2017 concert at Wacken, Peter Baltes was still there on bass- even if Hermann Frank had departed as rhythm guitarist. As has been documented in past reviews, I feel that Mark Tornillo is every bit as good as Udo Dirkschneider and he has now headed up the band for ten years. As the title suggests, this is a full live gig with a difference- the central portion of the performance marries Acceptup with a symphony orchestra- which then stays for the latter half of the gig! The first section of the release is a straight ahead metal performance, the middle section features Hoffman with orchestra- utilising his “Headbangers Symphony” solo album as the basis- and the latter half of the record treats the audience to classic Accept songs accompanied by the orchestra.

So, how essential is this? Well, not essential at all. It's a live album with an orchestra attached to two thirds of it. However, that view may be doing this record a disservice. To be sure, the central section is very stirring indeed and is actually successful in combining metal with classical. Its leagues ahead of Metallica's“S & M” effort of nearly 20 (!?) years ago and much more interesting than Deep Purple's misfiring “Concerto for Group and Orchestra”. The latter part of the release is also an interesting experiment- but much more in the vein of Metallica'saforementioned effort.

I could not claim that “Princess of the Dawn” is enhanced by the presence of the orchestra, beyond it being... different and more grandiose. The band wisely chose some of its more theatrical and grand material for the latter half of the gig and it is a thrill to hear “Stalingrad” with classical backing. I think the thing here is that if you like Accept, you will like this record.

I love Acceptand they are one of the best live bands I have ever seen. Hearing their songs with a new twist is interesting and a diverting listen. Will this take over on regular rotation from the superb “Restless and Live” record from a year or two back? No. While “Symphonic Terror” does boast the chance to hear some of the tracks from “The Rise of Chaos” in a live setting it is too much of an oddity to usurp a straight ahead live record.

Taken for what this is, though, I can say that “Symphonic Terror” is immensely enjoyable and entertaining. The central orchestral section really works and is testament to Hoffman's ability as a writer and player that it sounds so grand and cinematic. The album represents a unique performance and demonstrates a band at the top of their game. Having released a straight ahead live compendium recently, the band can play around with its sound and put out this album- why not? Recommended to all Accept fans and fans of classical music. For those new to the band, start elsewhere.

“Symphonic Terror: Live At Wacken 2017” is available now



Band info: official || facebook

RECORDS OF THEIR YEARS...with South Louisiana sludge infused progressive duo Radiant Knife

Hailing from South Louisiana, Radiant Knife plays the sort of sludge-infused progressive metal popularized by fellow southerners Mastodon, but play the style very much in their own way.  Their new album “Science Fiction” is packed with inventive song structures and trampling riffs that are underscored by a strong sense of melody.

Although often lumped into the post-metal category, Radiant Knife's broad sonic spectrum lands somewhere between experimental projects such as Zebulon Pike, King Crimson, “Willpower” era Today is the day and Zombi. Today we’re excited not only be premiered a fantastic new track “Suffer Under God” but Greg Travasos (drums) and Stephen Sheppert (guitar, vocals, keys) chat to us about their “Records of their Years”.  Check it out below.

SL: Favourite album from the year you were born?

Greg:  Motörhead, “Ace Of Spades”.

What can I say it's a classic, plus it’s the only thing that I liked out of that year that I can find. Really there self titled is the jam but I wasn't born in 77’. Also Phil Taylor rips.

Stephen:  Probably Rush, “2112”.  I was born in 76, and although this is not my favourite album by Rush it’s a good album.  Also I believe AC/DC’s “Dirty Deeds Done Dirt Cheap” was released that year also so that’s up there as well.

SL: First album you bought with your own money?

Greg:  Metallica,”...And justice For All”. Yeah, I was at a K-Mart if those exist anymore, where cassette tapes came in oversized plastic things. I remember my cousin telling me to get it because they had lyrics that said “Put your Mother to death” I thought that was pretty sick so I got the cassette, and loved it since. Heaviest album I had at 11.

Stephen:  Now that I really think about it, it was probably Guns n Roses, “Appetite for Destruction”.  I would sit in front of MTV for hours figuring out all the hair metal stuff on guitar. My pops was/is a rocker and didn’t limit any of my music choices.  Most of the time he bought the tape/record before I did.

SL: Favourite non metal / rock album?

Greg:  Father John Misty “I love you Honeybear”. Great compositions, songwriting and lyrics. I have much relatable laughter with his lyrics and cynicism. Much relatable truths I can see in my day to day life. Also could be a comedy album as well.

Stephen:  Polvo, “Exploded Drawing”, or really any of their albums.  Some great dissonant guitar work and great songwriting on those albums.  They have a knack for keeping it low key, dark and angular. All good stuff.

SL: Favourite album of all time?

Greg: This is always are hard question to answer, as I don’t really have a favourite album of all time.  I like a shit ton of albums, but Suffocation,“Pierced from Within” definitely stepped up heaviness in metal for me when I was younger. Listened to a lot of death metal, punk and grindcore in my younger days and this was the go to then. Crazy riffs, time changes, low growls, sick drumming.

Stephen:  King Crimson, “Red”.  When Dillinger Escape Planunleashed “Under the Running Board”, that started a whole musical journey into off timed/progged out music that eventually led me to the source of all that stuff.  That source IS King Crimson, “Red”.It’s a great album, but when listening to it, it’s also like paying homage to my elders.

SL:Favourite album (s) of 2018?

Greg:  YOB, “Our Raw Heart” Heavy and emotional crushing, jammed this album a couple of times. Atmospheric and cool. You can feel Mike Scheidt’s pain in this album, which explains this album title.

Stephen:  YOB, “Our Raw Heart” as well.  I’ve never been a YOBworshipper like some but to me this album brings a more positive, over the horizon emotional vibe compared to their previous work.  It’s shoegazish at times and you can definitely tell some of the songs originated on acoustic.

SL:...and finally The last album you bought

Greg: Spazz, “La Revancha”.I had this CD a long time ago, lost it, recently repurchased. Short fast bay area  skater grindcore. I remember playing the shit out of this in high school. Definitely brings back memories of how shitty and awesome the late 90’s were.

Stephen:  King Crimson, “Discipline” reissue on vinyl.  Not my favourite album by them but the song “Frame by Frame” itself probably spawned countless math oriented bands/songs, including much of Don Caballero’s catalogue.

“Science Fiction”is available to preorder/buy here

Band info: bandcamp || facebook

ALBUM REVIEW: Testament - "Live At The Fillmore", "Demonic", "The Gathering", "First Strike Still Deadly", "Live At Endhoven '87" (Reissues)

By: Richard Maw

Album Type: Reissue

Date Released: 26/01/2018

Label: Nuclear Blast

When at their best, as on “The Gathering”, there are few thrash bands who are their equal.

"Live At The Fillmore" (1995), "Demonic"(1997), "The Gathering"(1999) (remastered by Andy Sneap) "First Strike Still Deadly"(2001), “Live At Eindhoven '87"(2009)

The Review:

Testament's career is generally viewed as being a little behind the pace of the Big Four, but not by too much. Cursed with a late start via their debut of “The Legacy”, they followed it up impressively with “The New Order”, got a little more catchy on “Practice What You Preach” and then... lost their way a little chasing Metallicaand then Pantera'scoat tails. The records they released in the first half of the 90's were thus a mixed bag- great moments, weaker moments, thrash, no thrash and so on.

These welcome reissues, then, remind us of what a potent force Testament returned as via a shot of more extreme metal and an iron will. These reissues cover a couple of live albums- from 1987 and 1995 and then their studio output from 1997 into the new millennium. Let's be clear, Testament at their lowest ebb were still one of the best metal bands around, and so if “Live at The Fillmore” catches them on tour after the release of the album “Low”, it cherry picks the best tracks from their career to that time. It's a solid and punchy listen- if maybe lacking the “lightning in a bottle” x-factor that, say, “No Sleep Til Hammersmith” has. It works as a fine live best of- most of the best album tracks are represented. 1987's “Live at Eindhoven”catches the band at the very start of their international career and the performances are rough, ready, energetic and fiery. Both releases are really for fans only. For me John Dette being on drums makes “Live at The Fillmore” superior for me. He is one of the very best drummers in thrash. He played with Anthrax, filling in for the equally majestic Charlie Benante and he absolutely blew Paul Bostaph away- who must have been having an off night!

1997's “Demonic” is a superb and surprisingly extreme listen. Chuck Billy introduced some very extreme elements to his vocals to excellent effect and the overall impression is of a band revitalised and out-heavying the competition (Metallica and Megadethwere at career low points musically at this point, Anthrax were effectively inactive and Slayerwere coming off the back of their worst studio album). Eric Peterson was firmly at the helm as usual, with Chuck ably upping his game and the mighty Gene Hoglan stepping in on drums. While Alex Skolnick was not present, Greg Alvelais proved a worthy replacement with Greg Ramirez rounding out the studio line up. The death metal influence is strong and the record finds the band doing what they want to do- trends be damned. Great performances all around and impressive writing; what a great come-back record! It also sounds great- tight and clear with lots of weight to the production.

However, with “The Gathering” in 1999, the band hit an all time high. Dave Lombardo delivers a masterclass in thrash metal drumming (thanks Aaron!) and all the material is top notch. From the massive opener “DNR” to “Hammer of The Gods”, this is a thrash tour de force from a time when no-one was releasing such records. There are some classic tunes on here- “Riding The Snake”, “3 Days in Darkness”, “Legions of The Dead”. Every track is prime Testamentand is right up there with “The Legacy”and “The New Order”- with much better production. The fact that it is, in my view, Testament's best makes it one of the best thrash albums of all time. Chuck proves on this one that he is one of the best and most versatile vocalists in metal, while the chemistry between Peterson and Lombardo is sublime. Steve Digiorgio helping out on bass really helps the cause too- metal royalty! As a final boost, Andy Sneap's production is excellent.

“First Strike...Still Deadly”rounds out the studio releases and is one of my favourite Testament records. Whilst some fans may moan about the band re-recording their earlier classics and the clinical sound, I loved this at the time of release and still do. The sound is excellent, the performances are uniformly good (John Tempesta on drums this time around) and the song choices are stellar. Having Steve Zetro Souza come back for a couple of very early compositions is a nice bonus and overall I would recommend buying this over and above the first two studio albums! That may well not be a popular view, but there it is.

The verdict on this set of re-issues? Three essential releases and two live albums of good to great quality. Testament are usually mentioned in the same breath as Exodusand Overkillas being just outside the Big Four, but that is not to say that they don't knock all of Anthrax'swork plus half of Slayer's, Megadeth's and Metallica's discography into a neatly cocked hat. When at their best, as on “The Gathering”, there are few thrash bands who are their equal. After an extended break while Chuck Billy dealt with cancer, Testamentreturned and to date have released three great studio records from 2008 onwards. A classic band.

Band info: facebook

REVIEW: Haunt - "Luminous Eyes" [EP]

By: Richard Maw

Album Type: EP

Date Released: 28/01/2018

Label: Shadow KingdomRecords

Fitting in squarely with the likes of Cauldron, this is heavy metal of the old school done correctly and with affection. If you want traditional sounds with a dark edge to the songs, this is most assuredly for you.

“Luminous Eyes” CD//CS//DD//LP

1). Luminous Eyes

2). As Fire Burns

3). No Master

4). Fallen Star

The Review:

Haunt are brought to you by Trevor William Church of Beastmaker fame. This is four tracks of pure NWOBHM (or should that be NWOTHM?!) worship. Expect traditional sounds; solos, raw sounding drums, galloping rhythms and also a fair amount of melancholy. Pitched somewhere between Maiden and Angel Witch, this is straight up heavy metal. The title track is rather slow burning and thoughtful but things heat up appropriately with “As Fire Burns”. The track rocks hard and features a kind of revved up Witchfinder General vibe paired with a victory /vengeance-shall-be-mine theme. Killer.

The quality and energy level is kept right up there with “No Master”, which features the type of riffage which, had this been made by a band in 1981 from, say, Newcastle, would have inspired  Metallica to cover it many years later. The EP closes with the grandiose sounding “Fallen Star”- all widdly leads and riffs, coupled with the loping gallop that the EP exhibits at various times throughout.

Fitting in squarely with the likes of Cauldron, this is heavy metal of the old school done correctly and with affection. If you want traditional sounds with a dark edge to the songs, this is most assuredly for you.

“Luminous Eyes” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Absolva - "Defiance"

By: Richard Maw

Album Type: Full Length
Date Released: 28/07/2017

Label: Rocksector Records

For anyone interested in melody and hooks, they will find them here. The guitar pyrotechnics are astonishing- really good solos- and the band as a whole sound very cohesive, live and tight. The UK's best kept secret in metal? Not for much longer. Absolva will soon reign!! 

“Defiance “CD//DD track listing:

CD 1

1. Life on the Edge

2. Defiance

3. Rise Again

4. Fistful of Hate

5. Never Be the Same

6. Alarms

7. Connections

8. Midnight Screams

9. Life and Death

10. Eclipse

11. Who Dares Wins

12. Reflection

CD 2 (Bonus)

1. Harsh Reality

2. Hundred Years (Live)

3. Live for the Fight (Live)

4. Drum Solo (Live)

5. Code Red (Live)

6. Never A Good Day to Die (Acoustic)

7. It Is What It Is (Acoustic)

8. Never Back Down (Acoustic)

The Review:

Absolva return with studio album number four. This Manchester metal band are amongst the hardest working in the business- three of them are Blaze Bayley's band and have played on his latest albums, one plays with Iced Earthas well! Holding down two regular bands is enough of a feat on its own, but to produce this level of quality across the board... well, that is another proposition entirely.

For those who are unfamiliar, Absolva are a heavy metal band. Not thrash, not trad, not blackened sludge with ambient passages: heavy metal. I suppose that their sound is mid way between, say, Judas Priest, Accept, Alter Bridge and Metallica. “Defiance”follows up the rather excellent never “A Good Day To Die” and continues down that road- while being a little heavier and a little more rocking to my ears.

Opener “Life On The Edge” sets the tone- blazing guitars, superb clean vocals and a meaty production. The title track is just as good- catchy and anthemic with a strong refrain. Truthfully, Absolva would go down really well as a support for any of the aforementioned bands- and that is exactly the type of tour they need to push them over the edge from professional band into the rock start bracket. That these boys are not in the mainstream press and consciousness as much as they should be is ridiculous.

As the album's twelve tracks progress, the quality control is there- each track is different and brings hooks, melody and weight. The urgency of “Rise Again” is balanced by the strong hooks. The mid paced likes of “Fistful of Hate” sit alongside faster tracks such as “Never Be The Same” and melodic tracks such as “Alarms”, while the revved up charge of “Who Dares Wins” delivers a shot of adrenaline as a counterpoint to the more restrained fare.

For your money, you also get a bonus CD (or MP3s, I suppose) of acoustic versions from earlier albums and a selection of live versions. As a nice bonus, it's a winner- it encourages the listener to delve into the back catalogue and gives value for money.

For anyone interested in melody and hooks, they will find them here. The guitar pyrotechnics are astonishing- really good solos- and the band as a whole sound very cohesive, live and tight. The UK's best kept secret in metal? Not for much longer. Absolva will soon reign, after all Maiden and Saxon won't be around forever.

“Defiance” is available here

Band info: official || facebook

ALBUM REVIEW: Spirit Adrift - "Curse of Conception"

By: Conor O’Dea

Album Type: Full Length

Date Released: 06/10/2017

Label: 20 Buck Spin

“Curse of Conception” is a glorious success and a dazzling evolution of an already excellent band. 

“Curse of Conception” CD//DD//LP track listing:

1). Earthbound

2). Curse Of Conception

3). To Fly On Broken Wings

4). Starless Age (Enshrined)

5). Graveside Invocation

6). Spectral Savior

7). Wakien

8). Onward, Inward

The Review:

I tend to approach reviews with a fair degree of two things: reservation and resolve. Reservation, because it is actually pretty tough to write about music you love and try to convey the message of why you love it to a broad audience without jumping to superlatives in every sentence. It is a task I always approach with trepidation, and this anxiety is in direct positive correlation with how much I love the music in question. Resolve is obviously a corollary of this: one has to steel oneself to 'analyze' what one really just wants to 'experience'. How can I accurately convey not just my enjoyment of art someone else has created, but ultimately, share my profound appreciation with not just other potential fans, but the artist or artists themselves? Particularly without either missing the interpretive boat or engaging in sloppy ellipsis? 

When I was lucky enough to convince THE SLUDGELORD to let me review Spirit Adrift's“Chained to Oblivion”, I had already been listening to it almost non-stop for several weeks. It was one of the albums of 2016 that I was most excited about, that I found most profoundly moving. It had and still has all the makings of a genre classic. That genre being heavy metal, not one of the vast and ever- propagating subgenres. My love of the debut album actually intensified some of my reservations about reviewing “Curse of Conception”: was I going to like it? Had Nate changed direction substantively? Was it still going to be the band I had grown to love? And here I default to throwing around superlatives: “Curse of Conception” is a glorious success and a dazzling evolution of an already excellent band. 

I would actually be hard pressed to say what 'element' I like most about Spirit Adrift on this album, but the vocals are again what truly set the band apart. Nate's harmonies are epic in every sense of the word, and they are brilliantly punctuated here by cresting on top of a guitar tone that somehow retains the doom-heavy fuzz of “Chained to Oblivion”, yet brings in a razor-sharp brightness that calls to mind the Metallicawith whom I first fell in love. The switch from Orange to the EVH tonal palate works flawlessly, letting Spirit Adrift remain deeply true to everything that made the first album stand out while allowing an adventurous, exciting sonic reframing. Sabbathian elements are retained in vocal passages like the title track without every descending into copy-catting or worship. Spirit Adrift take their influences seriously and respectfully, but there is never a sense of retread or anachronism; this album is grounded in tradition but massively innovative in approach. On tracks like “Starless Age”, this growth expresses itself as a mature fusion of some beloved and sacred moments in the metal cannon with a clear, decisive compositional voice. 

And lest I forget: the album is joyous, fun, revels in the interplay of the aforementioned harmonies with spectacular riffage and never-without-purpose soloing. Check out a burner like “Graveside Invocation”; you know Nate knows he's knocking it out of the park here. The peaks and troughs and dramatic build from song to song work like the best film scripts: pacing is everything. Case in point: the wonderful acoustic country-tinged psychedelia build of “Walkien”. I literally laughed out loud at how perfect the change was here at 1:59. Epic, indeed. I've wasted enough of your time: you should be listening to this album and not reading reviews about it. Go get it. Remember why metal is awesome.

“Curse Of Conception”is available here

Band info: bandcamp || facebook

ALBUM PREMIERE: Toronto's Deity deliver chaotic, aggressive and masterful self titled debut album

The Cambridge English Dictionary defines Deity as ‘Godhead; the Supreme Being; a fabulous god or goddess; a divinity.’  That definition needs to be amended to include DEITY the band; who melds old-school metal through a thoroughly unique intense influence of their own into music that is godlike and divine! 
 

Inspired by Suffocation, Emperor, Death, Slayer and Immortaland describing their music as ‘relentless, powerful, intriguing, honest and revitalizing’, DEITY has produced a truly special album, combining the fantastic progressive instrumentals of Metallica and Iced Earth with crushing metal anthems.
 

With the completion of DEITY's self-titled album, the extreme duo, Danny and John are looking forward to taking their sound to live stages in Toronto, Montreal and more in both those cities provinces and beyond. Watch this pair, because DEITY are a band that deserve to break out of the studio into the live arena! Guitarist/vocalist Danny Alessandro had the following to say about the album

“This album has been a long time in the making and we are very proud of what we've created. From start to finish we want to take the listener on a journey of different emotions and feeling. As fans of metal we wanted to create something the listener could play over several times without losing interest. Something with a timeless feeling, and we feel like we've achieved this. Chaotic, aggressive and melodic are the best words to describe this self titled release.  We hope the metal community digs the album cheers!!!”

With the album set to hit the streets on Friday 2^nd June, you can check out the album in all its brutal splendour below.  For more info about this release as it becomes available, like and follow DEITY via facebook below.

Band info: Facebook || Instagram

ALBUM REVIEW: HARK - "Machinations"

By: Jack Taylor

Album Type: Full Length

Date Released: 24/02/.2017

Label: Season of Mist

“Machinations” CD//DD//LP track listing:

1). Fortune Favours The Insane

2). Disintegrate

3). Nine Fates

4). Speak in Tongues

5). Transmutation

6). Son of Pythagoras

7). Premonitions

8). Comnixant 30

9). The Purge

The Review:

Such is the legendary status of Taint is that HARK is still somewhat unfortunately referred to in some quarters as ‘Jimbob’s new band’, much in the same way that Jason Newsted was perpetually ‘the new guy’ in Metallica. Yet I think if HARK carry on putting out material of the calibre of ‘Machinations’ then their status will usurp that of Taint’s in the near future.

The band’s sophomore record is packed to the rafters with the excellent riffage that Jimbob has made a career out of, as well as his characteristic, punky yelp. Compared to their debut effort, 2014’s ‘Crystalline’, HARK sound more confident and better prepared. Gone are the slightly over baked moments of their first album – the chaff has been well and truly sorted from the wheat, and the band sound even better because of it.

Standout track is “Nine Fates”, which begins with a gorgeous old-school Mastodon intro before launching into a pulsating stoner rhythm. “Disintegrate” and “Son of Pythagoras” are also quality tracks, with the familiar but welcome exhibition of High on Fire-esque grooves and exquisite guitar pyrotechnics courtesy of the aforementioned Jimbob. It’s not like HARK are breaking new musical ground, but they are so good at what they do that it doesn’t really matter if they are or they aren’t.

Like ‘Crystalline’, HARK choose to end this opus with a short instrumental followed by a meandering, multi-faceted closing track, that culminates in a crescendo of triumphant guitar melodies. It’s a fitting way to end a solid second effort – I’m certainly looking forward to seeing this lot on the road in the near future, as these nine offerings are sure to sound gargantuan live.

“Machinations”is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Mastodon - "Emperor of Sand"

By: Richard Maw

Album Type: Full Length

Date Released: 31/03/2017

Label: Reprise Records

“this is the best album in a long while from the band, it is accessible without straying that far from the band's template and still finds the band in a modern class of one. Time will reveal just how good this record is, but my feeling is that this one will stand the test of time.”

“Emperor of Sand” CD//DD//LP track listing:

01. Sultan's Curse
02. Show Yourself
03. Precious Stones
04. Steambreather
05. Roots Remain
06. Word To The Wise
07. Ancient Kingdom
08. Clandestiny
09. Andromeda
10. Scorpion Breath
11. Jaguar God

The Review:

Mastodon, over the course of their first four albums, were on the cusp of immortal metal greatness. “Remission”remains their high point for fans of their heavier work. “Leviathan” is generally regarded as classic. “Blood Mountain” is to “Leviathan”what Motorhead's  “Bomber” was to “Overkill”. “Crack The Skye” was an immense work- but a little too smooth for some tastes. After that, things got a little... less interesting. I've always found “The Hunter” to be underwhelming and “Once More 'Round The Sun” was good, but not great- and, time has shown, perhaps a little too safe and friendly- certainly for me, at any rate.

At the time of “OMRTS”, I pondered whether the record would ascend to greatness- sadly, for me, it did not. This time around, Brendan O'Brien (Pearl Jam, AC/DC et al) returns as producer and the band visit personal loss as an inspirational wellspring again. Naturally, there is a story line here- rain, Arabia, telepathy... all very Mastodon. I'll leave you to figure it all out.

If the story and concept and even genesis of the album is very Mastodon, is the music?! “Sultan's Curse” certainly is- it's a great opener, angular riffing, off kilter drums- it has the band being noisy bastards again- great! From there, though, things are not exactly what you may expect. Truthfully, “Show Yourself” is closer to Queens of The Stone Age than anything on “Remission”. The vocals are clean, the rhythms surprisingly straightforward. Make no mistake, it's a great song, but...

“Precious Stones”is more like it; Brann Dailor is very busy behind the kit, the vocals soar, there are changes aplenty and all that makes for a winning track. The listener will become aware here that the record is NOT going to rely on harsh vocals. Really, that is a word of warning to anyone who is expecting a wholesale return to the band's past. Production wise, there is nothing to fault here: the sound is big, very well balanced and superbly mixed. You can hear absolutely everything and the album sounds as massive as the band's name implies.

It's a focused listen too; only the closer strays into epic length territory, with most other tracks in that four to six minute bracket. Looking at all these factors- producer, song lengths, vocal delivery- it is an easy assumption to make that this is an album perhaps akin to Metallica's fifth album- edges smoothed out, hooks silky rather than spiky. However, that may also be doing a disservice to the record and the band.

“Emperor of Sand”is very much a Mastodon record. It's quirky, unpredictable and still technically very proficient and even progressive. The vocals are a clear nod to more mainstream designs- and showcase the band's best vocal work to date in respect of clean singing. The drums are still extremely busy, the guitar work is still very much complex and lead heavy. Tracks such as “Steambreather”have iron-clad riffs at their core. Similarly, “Roots Remain” is heavy and vocal heavy in equal measure with some inspired riffage to boot.

“Word To The Wise”is weighty and catchy and recognisable, immediately, as Mastodon. The band have always had a unique sound (and bands that do tend to rise above the rest) and that sound is very much present and correct. There are even throwback type tracks to previous records. “Ancient Kingdom” would fit in on “Crack The Skye” perfectly, but there is nothing as extreme as “March of The Fire Ants” here, alas.

Once across the halfway point of the record, on first listen, I realised that Mastodon still do sound very much like themselves and also that “Emperor of Sand” is nowhere near as much of a dynamic shift in sound as was “The Black Album”. The best comparison I can make here is to band's produced by Mutt Lange: the change from before and after is clear, but the band is still recognisable. I am talking “Powerage” to “Highway to Hell”, “On Through The Night” to “High and Dry” (yes, I realise that AC/DC and Def Leppard are very strange comparative examples). To put things in direct terms, tracks like “Clandestiny”are way beyond what anyone would think of as mainstream rock or metal, but they are still oddly listenable and hooky and sound fantastic.

Mastodon is still Mastodon, they are just not the band in your back pocket anymore. The angular riffing and time feel of “Andromeda” further hammers this point home: “Pyromania”, “The Black Album”, “Back In Black”, “1987”, “Eliminator”and all other blockbusting examples of lucrative sound changes this is NOT. It's still proggy, weird and even hard to follow in places. The percussion overdubs tell a story of  considered precision, the changes and constant fills and rolls tell you that the band are still doing it their own way.

The intro to “Scorpion Breath” could be straight off “Leviathan”, as could the vocals and even the structure, it's just that the overall effect is slicker. Regardless, it's a great track and a wonderful piece of music. By the time of “Jaguar God”, I was convinced by the record and won over by the band once again, after a few years of tepid interest. Naturally, the closer is the epic track on the album and makes use of quiet/loud dynamics across the nigh on eight minute playing time. In many ways, it is three tracks in one and makes for a fantastic ending.

In summary, then, this is the best album in a long while from the band. It's streets ahead of the last two, certainly. Once again, time will tell in regards to its place in the pantheon of Mastodon's greatest albums but it pulls off a mightily impressive trick: it is accessible without straying that far from the band's template and still finds the band in a modern class of one. Time will reveal just how good this record is, but my feeling is that this one will stand the test of time. 

“Emperor of Sand” is out now

Band info: facebook