Heavy rock icons Mastodon are about to release their sixth album Once More Round The Sun. Out on June 20th (via Warner), this is the groups first album since their highly acclaimed 2001 release The Hunter.
Does Once More ‘Round The Sun live up to the expectations set by their legendary 2011 release? Stream the record now ahead of its release this Friday and read our track-by-track break down to find out.
Tread Lightly
Opening with a small acoustic guitar movement before pummelling you over the head with Mastodon’s signature heaviness, ‘Tread Lightly’ marks one of the bands more progressive openers, forgoing the usual “no bull, straight to the point” numbers that they’re known for using on every prior album.
Bassist Troy Sanders has always added a backbone to Mastodon’s sound, but the thick, sludgy wall of noise emanating from Sanders is one of the first things listeners will notice. He also manages to dominate the vocal circuit, especially as his unique voice captivates the listener during the drawn out singing of the chorus line; “Open your eyes. Take a deep breath and return to life…”
The four members manage to each share vocal duties, creating some similar, but nicely contrasting vocals littered throughout their works, with their latest piece being no exception.
The Motherload
Drummer/ vocalist Brann Dailor piles into his kit during the opening, before the group segues into traditional Mastodon riffs and grooves. Perhaps more reminiscent of the traditional rock sensibilities found on the likes of The Hunter, Dailor’s vocals absolutely soar during ‘The Motherload’, making it easily the most infectious chorus on the record.
“This time, this time! Things will work out just fine!”
Despite its unbelievable catchiness, it retains the more stylistic choice of early Mastodon, so while it’s one of the more accessible tracks the band has done, it’s all without compromise of their sound. Brent Hinds [guitars/vocals] and Bill Kelliher [guitars] act as the frontrunners during the songs final minute, as they solo back and forth towards its conclusion.
High Road
The lead single and first pre-release track, ‘High Road’ is a typical Mastodon affair, opening with a sludgy, very headbangable riff. Putting more emphasis on vocal style and delivery of an easier to grasp chorus seems like the norm this time around, and while ‘High Road’ demonstrates a more straightforward, verse, chorus, verse, structure, it’s just as well it remains so memorable as it does so.
“You take the high road down, I’ll take the ground below you” is a real challenge to omit from memory once listened to in full, and the back and forth between Sanders and Dailor make it an effective combination of both of their contrasting vocal styles. Of course, Hinds and Kelliher have their time in the spotlight during the guitar-laden bridge, before transitioning into a reprise of the chorus, just in case you’d already forgotten the words. It’s very likely you’ll be singing this one for days!
Once More ‘Round The Sun
Perhaps what’s most interesting is the fact that the title track remains the album’s shortest song. Clocking in at just under three-minutes, the eponymous ‘Once More ‘Round The Sun’ has elements of the group’s first album, Remission, littered throughout, but unfortunately the fact that it’s a little on the short side means that it doesn’t really have time to flourish like the other tracks do.
The chorus also seems to be less overt than the other numbers, but perhaps stylistically so, in order to fit in with Hinds’ more downbeat vocals. Despite that, Hinds’ voice has a nice start/stop quality to it as he chimes, “Once more ‘round the sun we go again…” during the, somewhat understated chorus.
Chimes At Midnight
Speaking of chimes, the second pre-release track is one of the albums strongest cuts, and sounds like the lovechild of their predecessor, The Hunter and their breakout sophomore album Leviathan. Dailor goes heavy on the cymbals and high hats as Hinds introduces us to some memorable riffs and licks as he sings and wails the title throughout.
It’s the songs second half however, where the group slow down drastically, the change of which really demonstrating the Leviathan vibes, nostalgic towards the penultimate 13-minute track of ‘Hearts Alive’ from said album. This sudden change in gear comes with Hinds as he wails on his guitar during the fade out, which is more reminiscent of their 2009 record, Crack The Skye.
Asleep In The Deep
The second half of the album’s one-two punch, the brilliantly titled ‘Asleep In The Deep’ also harnesses some of the ethereal atmosphere not dissimilar to the likes of Crack The Skye and Leviathan, albeit to a more hard-hitting effect.
Paired alongside ‘Chimes At Midnight’, ‘Asleep In The Deep’ works as the album’s perfect middle point apex, utilizing a dreamy, surreal atmosphere that is only further accentuated by a very clever and subtle use of backing trumpets during the song’s core. With some electronics later thrown into the mix, ‘Asleep In The Deep’ fantastically bookends the album’s first half as an equal blend of old and new.
Feast Your Eyes
Opening with guitar licks hearkening back to their older days, the quartet from Georgia manage to straddle the line between evolution and nostalgia – and such a fine line it is!
Having said that, ’Feast Your Eyes’ is admittedly the least impressive track of the record thus far, but after the colossal first half, it’s only fair that the band would stumble at some point. Not to say it’s bad, just not very memorable, overall.
In any case, it seems like a strategic position for the track nonetheless, because so far it seems that Once More ‘Round The Sun peaks and troughs accordingly, with every song positioned exactly to exploit its full potential, providing an extremely cohesive listen.
Aunt Lisa
Dailor once again makes his voice known, before an abrupt combination of vocoder and screams cleaves through the track. So far, it’s one of the records’ slower, more sluggish cuts, contrary to Dailor’s rapid-fire drumming. Spiraling down during the bridge, the use of vocals here are much more downbeat and jaded than usual, adding a much needed contrast before everything started to sound alike, despite the traditional sound accompanying it.
But just when you thought a visit from ‘Aunt Lisa’ was going to be typical Mastodon fare; the group throws you a curveball by implementing guest vocals, with the girls from neighbouring Georgia band The Coathangers screech “Hey, ho, let’s fucking go” at the peak of their lungs. It’s a chant that’s a little on the simple side, sure, but it’s an effective surprise nonetheless.
Ember City
‘Ember City’ wins the award for being the most riff-heavy on the album. The sharp opening, lead by Hinds would be the most impressive aspect of the song, if it weren’t for the sincerity of the chorus, passionately delivered by Dailor.
“And it was slipping away, what do I say to you? And if I want you to stay, what do I say to you?”
Hinds once again ushers in a solo before letting the rhythm section take over, carrying the song’s body afloat. Once again, Dailor’s vocal chords prove to be absolutely essential, and the fact that his voice has been implemented more on Once More ‘Round The Sun is a definite winning strategic move by the boys from Georgia.
Halloween
Opening with a nice repeated lick before Hinds carries the song away with his ragged, drawn out voice, paired with spooky sounding guitar picking (fitting, really), Halloween is easily remembered, both during its opening moments and eventual chorus.
The standout moment however, is when Dailor really shines behind his kit during the bridge in parallel with Kelliher, who really makes the song come into its own. The tracks false demise also works in its favour, letting the listener have another few seconds of which to nod along to its neck-breaking rhythm.
Diamond In The Witch House
‘Diamond In The Witch House’ spawns from the same space of imagination that gave birth to the likes of ‘Divinations’ and ‘Ghost Of Karelia’ from 2009s Crack The Skye. It’s nice to hear that the group hasn’t completely relinquished their more progressive songwriting from that era of their career.
Scott Kelly of Neurosis fame guest stars on the track, and is no stranger to Mastodon, having already featured on their previous record, The Hunter. His drone vocals help to add another dimension to an already expansive track.
The song gradually climbs higher and higher until it hits its apex at around the five-minute mark. “Only lost fills my void” claim the distraught, spacey vocals, before all hell breaks loose and the song spirals downwards into a sea of oblivion, Sanders mentioning; “we will shadow you” in the record’s final moments.
Overall:
Following on from the more accessible formula of 2011s The Hunter and incorporating some of their more defined roots and signature sounds, Mastodon’s latest release is a successful coalition of all of their past efforts seamlessly blended into one.
Perhaps most impressively, is that while they manage to borrow from their past selves, they never come across as indulgent or self-parodying. It’s a demanding listen, but Once More ‘Round The Sun not only earns its place in Mastodon’s remarkably consistent discography, but also as one of the more memorable metal records of 2014.
