Mastodon Blood Mountain
Reprise Records 44450-2 September 12th, 2006
By Jason Jordan
The more I listen to Blood Mountain, the less enamored I become with Mastodons follow-up to one of the most celebrated records of the past few years Leviathan. Whereas Remission and Leviathan were immediately likeable and only ballooned in worth after repeated listens, the bands major label debut has more holes than it first lets on, and those holes gradually expand each time the disc gets replayed.
Perhaps expectation ran too high for the 70-minute record, but with the buzz generated by the metal community, occasional glimpses (cover art, mp3s, etc.) at Blood Mountain, and the idea that Mastodon were capable of surpassing a masterpiece, the level of anticipation was off the charts and basically an inevitable development. So besides the superb artwork, lofty lyrical concept, and instrumental prowess, how does this differ from its predecessor? Theres no orgasm-inducing epic like Hearts Alive, and theres no brief juggernaut like Blood & Thunder. For reasons unbeknownst to me, the above complaints remained at the forefront of my mind ever since finishing BM for the umpteenth time.
If Mastodon were ever in need of a professional vocalist, though, the time is now. While it would alter their overall sound (and approach) dramatically, the raspy utterances of Troy Sanders (bass) and Ozzy-esque, clean wails of Hinds (guitar) simply dont cut it. Momentary respite is provided, however, by the guest appearances of Scott Kelly (Neurosis) on Crystal Skull, Joshua Homme (Queens of the Stone Age, ex-Kyuss) on Colony of Birchmen, and Cedric Bixler-Zavala (The Mars Volta, ex-At the Drive-in) on Siberian Divide. Still, the emotions that seep out of Sleeping Giant and Colony of Birchmen come across as heartfelt, and a few of the tracks (Hunters of the Sky, Hand of Stone, and others) just plain rock. Rousing tunes such as The Wolf Is Loose and Crystal Skull are both very good and successfully rival former entries in the groups discography.
Conversely, the periodic failed experimentation, occasional inadequate transitions, and the inclusion of a few forgettable tracks decisively squelches the idea of Mastodon being able to deliver an album impervious to reasonable, fair criticism. Maybe its the fact that Blood Mountain seems like a weaker beast to me. At any rate, a lot of the material is great, but I found myself enjoying parts of songs and not whole songs, which is not a good sign.
So overall, BM is an above average disappointment that doesnt even come close to surpassing their full-length swansong. Again, however, theres a lot to like and theres a lot to dislike. While the 45-minute, making-of DVD is entertaining, casual fans should probably just swing for the cheaper package as it delivers enough value for the money, but less than the optimal amount.
7/10
UMs Review Rating Scale
Official Mastodon Website
Official Reprise Records Website
Reprise Records 44450-2 September 12th, 2006
By Jason Jordan
The more I listen to Blood Mountain, the less enamored I become with Mastodons follow-up to one of the most celebrated records of the past few years Leviathan. Whereas Remission and Leviathan were immediately likeable and only ballooned in worth after repeated listens, the bands major label debut has more holes than it first lets on, and those holes gradually expand each time the disc gets replayed.
Perhaps expectation ran too high for the 70-minute record, but with the buzz generated by the metal community, occasional glimpses (cover art, mp3s, etc.) at Blood Mountain, and the idea that Mastodon were capable of surpassing a masterpiece, the level of anticipation was off the charts and basically an inevitable development. So besides the superb artwork, lofty lyrical concept, and instrumental prowess, how does this differ from its predecessor? Theres no orgasm-inducing epic like Hearts Alive, and theres no brief juggernaut like Blood & Thunder. For reasons unbeknownst to me, the above complaints remained at the forefront of my mind ever since finishing BM for the umpteenth time.
If Mastodon were ever in need of a professional vocalist, though, the time is now. While it would alter their overall sound (and approach) dramatically, the raspy utterances of Troy Sanders (bass) and Ozzy-esque, clean wails of Hinds (guitar) simply dont cut it. Momentary respite is provided, however, by the guest appearances of Scott Kelly (Neurosis) on Crystal Skull, Joshua Homme (Queens of the Stone Age, ex-Kyuss) on Colony of Birchmen, and Cedric Bixler-Zavala (The Mars Volta, ex-At the Drive-in) on Siberian Divide. Still, the emotions that seep out of Sleeping Giant and Colony of Birchmen come across as heartfelt, and a few of the tracks (Hunters of the Sky, Hand of Stone, and others) just plain rock. Rousing tunes such as The Wolf Is Loose and Crystal Skull are both very good and successfully rival former entries in the groups discography.
Conversely, the periodic failed experimentation, occasional inadequate transitions, and the inclusion of a few forgettable tracks decisively squelches the idea of Mastodon being able to deliver an album impervious to reasonable, fair criticism. Maybe its the fact that Blood Mountain seems like a weaker beast to me. At any rate, a lot of the material is great, but I found myself enjoying parts of songs and not whole songs, which is not a good sign.
So overall, BM is an above average disappointment that doesnt even come close to surpassing their full-length swansong. Again, however, theres a lot to like and theres a lot to dislike. While the 45-minute, making-of DVD is entertaining, casual fans should probably just swing for the cheaper package as it delivers enough value for the money, but less than the optimal amount.
7/10
UMs Review Rating Scale
Official Mastodon Website
Official Reprise Records Website
