Year : 2014
Style : Progressive Metal , Alternative Metal
Country : United States
Audio : 320 kbps + all scans + Video
Size : 158 mb
Art is a cyclical beast. The same can easily be said of Grammy Award nominated hard rock juggernaut Mastodon. The group’s four members recognize the importance of life’s omnipresent cycles on their sixth full-length album, Once More ‘Round the Sun. The band orbits around themes of loss and rebirth, twirling a sonic spiral of its signature robust riffing, hypnotically haunting soundscapes, triage of dynamic voices, and thundering seismic grooves. At the same time, this particular collection proves personal for Brann Dailor, Brent Hinds, Bill Kelliher, and Troy Sanders. The very title says something slightly different for each member."Quite literally, Once More 'Round the Sun means a year-in-the-life," explains Dailor. "Lyrically, we were discussing things that happened to us recently, whereas in the past we looked further back for inspiration. It's about 365 days in this band. It was a tough and strange journey. We happened to be in the middle of completing a full rotation musically as everything else was going on.""It's about being a man and trying to survive in the world. You’re facing all of the crazy shit that goes along with it," adds Hinds. "You've got to just keep rolling. It's the daily grind everybody deals with. It's grinding and rewarding."Kelliher concurs, “A lot of crazy and epic things have happened in the nutshell of the past year. For me, I had recently gotten sober. I really focused my time on writing music instead of drinking and being hung-over. We were in a different space here. Another year has gone by, and we wrote this record.”Sanders smiles, “The title itself deals with a cycle. Writing, recording, and touring are kickass experiences that we get to relive over and over again. We’ve got the ability to strap it on and go out another time. I look forward to riding this out once more with my three friends.”Mastodon’s own collective cycle encompasses a staggering string of accolades. Whether it’s the public endorsement of peers as diverse as Metallica, Pearl Jam, Queens of the Stone Age, CeeLo Green, and Feist or unanimous praise from the likes of Time and Rolling Stone, the band continue to make an impression at every turn. 2011’s The Hunter saw them achieve their highest chart debut yet, reaching #10 on the Billboard Top 200, while the single “Curl of the Burl” notched their second Grammy Award nomination in the category of “Best Hard Rock/Metal Performance”. In between scorching stages everywhere from Sonisphere and Download to Bonnaroo and Coachella, they scored the Josh Brolin sci-fi western Jonah Hex and have been sought out for soundtracks including Pixar’s box office smash Monsters University. As far as rock ‘n’ roll goes, their legacy irrefutably stands alone. However, that legacy expands yet again with Once More ‘Round the Sun.In order to uphold a modus operandi of experimentation and evolution, the boys enlisted the talents of super producer Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains, Deftones, etc.) for the very first time. They holed up in his Falcon Rock studio in Nashville throughout the fall of 2013, cutting what would become Once More ‘Round the Sun. Given his passion for the band, Raskulinecz immediately clicked with the musicians.“He was very hands-on,” says Sanders. “We were fans of the Deftones and Alice In Chains records he’d done, and we initially met him during the BlackDiamondSkye tour. He literally called Brann every six months reminding us that he was on the hunt to work with us when we were ready. This was the right time.”“He was like a coach,” Kelliher goes on. “He brought some energy to the band. I remember he was like, ‘You guys are Mastodon. You’re one of the biggest bands in metal. Give me some of those chunky and thick riffs!’ He let us be who we are.”It’s indisputable that Once More ‘Round the Sun is Mastodon through and through. Kelliher’s twelve-string acoustic guitar ominously heralds the record’s onset during album opener “Tread Lightly” just before crashing into an unmistakable roar from Sanders. Hinds churns out a psychedelic slide guitar solo during the title track that entwines with Dailor’s drums in entrancing, yet enigmatic union. The Kelliher-penned first single “High Road” pummels with an intense polyrhythmic guitar groove before snapping into another unshakable refrain from Dailor.Kelliher explains, “I wrote that on a day off while we were on tour in Luxembourg. I was sitting in this rainy city on a Sunday. Nothing was open. I felt like I needed to write something to reflect how I was feeling. I started banging on a guitar. I was thinking Neurosis and The Melvins low-tuned with a little more pop sensibility for the chorus.”“You can headbang to that one for days,” grins the drummer. “I love the simplicity of it. Lyrically, it’s an angry number where you want to see someone destroyed. It’s heavy-handed in that sense, but it’s the fantasy I felt at the time.”Then, there’s “The Motherload”. Sharring vocal duties between Dailor and Sanders the track cruises from a propulsive six-string onslaught into an riveting chorus—one of the band’s biggest to date. “That one is personal for me,” Dailor admits. “It’s not wanting to lose someone and the powers-that-be are trying to take that person away, or the world is just against it. You’re doing everything you can and scrambling to hold on and salvage it.”Nodding to their roots, “Chimes At Midnight” sees Sanders call out the words “Hearts Alive”, making a connection to the centerpiece of the band’s critically acclaimed 2004 breakout Leviathan. He reveals, “I never repeated a line on purpose, but I felt like it was time to!”On the other end of the spectrum, Hinds delivers a raucous and raw departure in the form of “Halloween”. Wielding a thrashed-up punk riff, the song eventually explodes into incendiary soloing from the axeman in homage to his favorite holiday. However, the biggest surprise comes during “Aunt Lisa”, an anthemic send-off to Brann’s late aunt featuring Atlanta femme punks The Coathangers on a rousing gang vocal.“This one came out pretty effortlessly. It’s about Brann’s Aunt Lisa, her wild spirit, and free personality. I love what The Coathangers did. They’re good friends of mine, and they owed me a favor because I got the Mastodon guys to dance around like girls in their video,” chuckles Hinds.Brann continues, “My aunt liked anything I did. She definitely lived life to the fullest. If she walked in the room, all eyes were on her. I loved it. I don’t think I’ve ever come across energy like that before, and I don’t know that I will. You never knew what was going to happen when she was around. She had a huge impact on my life. I didn’t get to say goodbye to her properly. This is me trying to say goodbye.”Everything culminates on the expansive finale “Diamond in the Witch House”. Boasting a vocal call-and-response between Sanders and Neurosis’s Scott Kelly, on his fourth Mastodon collaboration, the track unfolds in cinematic fashion over eight minutes punctuated by Kelliher’s hulking riffs. “It’s about the fragility of taking responsibility,” admits Sanders. “That’s what happens when you have kids. Precious lives are in your hands and dependent upon your actions. The idea spun from that. It’s about proving your worth and prevailing.”Mastodon continue to prevail artistically, and this particular rotation, Once More ‘Round the Sun, upholds that tradition of progression. “We’ve built a band that’s been able to morph, evolve, and change,” Dailor concludes. “Our fan base expects greatness, but they also expect things to be weird and different. I feel confident that we’ve risen to that challenge.”Hinds leaves off, “It would be nice if people walk away enjoying the listening experience. That’s the ultimate goal. It’s interesting to see. One thing I know for sure.they can’t walk away and say it’s not original.”
The Georgian boys are back with their sixth album already and every single of their releases was a surprise for the listeners and it's no exception this time either. Their evolution towards more progressive realms felt natural and so is their endeavour into more melodic territories.In 2011, we were offered a very poppy album with the sadly underwhelming The Hunter, an album plagued with too many songs and fillers but with some jewels like the title track or “Stargasm”. I'm sure I wasn't the only person expecting their new one with haste and interest. I've been following the band intensely since the excellent Blood Mountain, an opus created just when I was starting to get into metal and even if my horizons changed after my formative years, Mastodon remains an important band for me and they'll be seen as the most important American metal band of their generation. I remember when I discovered them, I was sixteen and it was the week that I also got Frances the Mute by The Mars Volta, a band that also became one of my favourite. I opened BM's booklet and I thought it was very odd that Cedric Bixler-Zavala (singer of TMV) was featured as a guest. What a fun coincidence, everything happens for a reason! And now, it's time for the first Mastodon full length since the tragic dissolution (some will say hallelujah but to hell with them) of the El Paso prog juggernauts and it's easily a contender for my album of 2014.After only one listening, I already told myself that the main problem of their previous record was solved. OM'RTS has absolutely no filler whatsoever. Its main strength is its cohesion and unity. The eleven songs for fifty four minutes is perhaps their most balanced album to date. One of the forces of an album like Leviathan was its diversity but it didn't worked as well on Crack the Skye, an album with a great vision ultimately afflicted with an overachieving will. I mean, I liked the long tracks like “The Last Baron” but the album wasn't as close-knitted as this one even though I think it was honourable progressive metal. CTS also had too many members of the band trying their hand at the mic and it felt disjointed at times. While their new opus is definitely their strongest vocally speaking or at least their most accessible. I'm sure the people who were complaining about how the vocals were their weakest quality won't find much material to complain about here. Sanders (who's obviously Mastodon's best singer) and Hinds are prevalent but they seem harder to differentiate this time around or maybe it was so well constructed that it isn't apparent.Their deliveries are mostly clean but rough and they're simply better at the game, they know their forces and explore them. The choruses are powerful and the use of ethereal, atmospheric but grasping vocals enhance the whole experience.Lyrically speaking, it's not as special as CTS or weird like The Hunter, it doesn't seem conceptual this time around (perhaps for the better since they'll be repeating themselves and that's counterproductive.) The lyrics are still deeply personal and metaphorical and they flow very well. It's kind of giving me a contemplative vibe that goes hand in hand with the rock influences they're incorporating this time around, you can easily hear the love they have for Deftones and Alice in Chains and I have no problem with that!.It goes without saying but don't expect Mastodon to go back to their sludgey roots on this album, it's perhaps heavier than The Hunter or maybe I think it is since it's not as joyful. It's sort of a return to a math-esque sound not so present on their two latest albums and it delivers immense heavy riffs as well (such as the great epic closer “Diamond in the Witch House” with “surprise” guest vocals from Neurosis' Scott Kelly.) Of course, a Mastodon album wouldn't be complete with other guests, this time the all girls punk band The Coat Hangers from their local city of Atlanta are featured on the fun “Aunt Lisa” with girly, shouted vocals adding a juvenile feel to the track.Hinds and Kelliher (massive guitarists for sure) are not quite as inclined to show off their lead guitar skills as they were before but they let loose some tasty leads like on the single “High Road”. Throughout the album, they prove once again that they're modern metal's most accomplish guitar duo. They have their own distinctive approach and alongside Dailor's inventive, intense and intelligent drumming, it's part of Mastodon's signature sound. It's full of blistering and smart riffs intertwined with groovy rhytmns played wonderfully showcasing that they're one of the proudest Rush disciples of the new millenium. Mastodon has always been a technical band but I truly believe that it never was a burden to their compositions, quite the opposite.Indeed, it's progressive & technical but without giving up one iota of melodic might. “Tread Lightly”, the opening song, is the perfect example with its sweeping leads and its catchy vocal patterns. They learned of their gigantic progressive voyage with CTS but played a more subdued card on OM'RTS and still managed to craft an impressive and original record. Proof that sometimes less is more. Nevertheless, this album is fucking intricate and rich and it's just doesn't try to be too creative or pop, it just is. It's like they accepted the fact that they were going in a poppier direction, that's a direct continuation of The Hunter which can be seen as a transition album since the formula & the quality weren't quite there yet.It really feels like Mastodon took the better songwriting of The Hunter and mixed the idiosyncratic power from their other albums with it. Someone might dislike Mastodon for a bunch of reasons (their immense popularity, their beards, the fact they moved on from extreme metal and so on...) but no one can say that they sound like another band. If a bunch of hipsters try to mimic them, they'll strike again with a new, fresh record and the kids will have to update their sound once again. They're reinventing themselves after each record and for most bands, this prowess would be disastrous but not with these fabulous and silly hairy homo sapiens sapiens.It's without a doubt their best album since Blood Mountain and it helps building an important, almost faultless legacy for the band. I had low expectations after their previous album and this was a pleasant surprise. Highly recommended for fans of adventurous, catchy prog metal with a flair for originality. Mastodon are still on the rise and there's no way to stoptheir progression. In time, you will join them in the sun, In time, you will help them accomplish wonders.
Troy Sanders - Bass, Keyboards, Vocals (2000-present) - See also: Killer Be Killed, ex-Social Infestation, Gone Is Gone, ex-Four Hour Fogger, ex-Knuckle, ex-Puaka Balava
Brann Dailor - Drums (2000-present), Vocals (2009-present) - See also: ex-Evisceration, ex-Lethargy, Arcadea, Fiend Without a Face, ex-Gaylord, ex-Today is the Day
Brent Hinds - Guitars, Vocals (2000-present) - See also: Fiend Without a Face, Giraffe Tongue Orchestra, Legend of the Seagullmen, The Blood Vessels, West End Motel, ex-Four Hour Fogger
Bill Kelliher - Guitars, Vocals (backing) (2000-pesent) - See also: ex-Lethargy, Primate, ex-Butterslax, ex-Girdle, ex-Today Is the Day
01. Tread Lightly 05:14
02. The Motherload 04:59
03. High Road 04:15
04. Once More 'Round the Sun 02:58
05. Chimes at Midnight 05:32
06. Asleep in the Deep 06:12
07. Feast Your Eyes 03:23
08. Aunt Lisa 04:08
09. Ember City 04:59
10. Halloween 04:39
11. Diamond in the Witch House 07:49
+ Video "The Motherload" (Official Video)
Please my link you can´t spread further and don´t upload to other hostings!!!
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