Mastodon's fifth studio album 'The Hunter' has been on the horizon for a long time, the two years since 2009's 'Crack the Skye' feeling like nothing short of an age. Now the album is here, and it doesn't disappoint in the slightest, the wait having been most definitely worth it. It's a throwback to the past achievements of the Georgia metal quartet's earlier releases 'Remission' and 'Leviathan' while taking a step in an entirely new direction, with the space-age sound that was dabbled with on both 'Blood Mountain' and 'Crack the Skye' now becoming a recognisable element to the overall Mastodon experience. The songs on 'The Hunter' stand out on their own as wonderful additions to the Mastodon catalogue, but as an album they work even better, despite the album being the first since 'Remission' that has no collective concept.
'Black Tongue' kicks off the album with recognisable chords (if you are at all familiar with Mastodon's previous works), jazzy drum fills and spectacular riffing. The vocals are achingly brilliant and passionate, giving the opening track an epic feel with the addition of various vocal effects, dual guitar parts and sweeping solos. 'Curl of the Burl' has a funky element that although strange in a Mastodon song, doesn't feel alien or out of place. The riffs here are groovy and cite the Drop A sludge of the band's debut full-length 'Remission', which gives the song a monumental feel and allows the next track, 'Blasteroid' to hit us with its bombastic appeal in a way that is both a shock to the system and a head-nodding delight. The song is good fun, feeling very classic rock in places, which is a sound Mastodon rarely experiment with.
'The Hunter' continues its journey science-fiction with 'Stargasm', where jangly guitars give the track an eerie ambience and otherworldly hum. It switches from magical to terrifying regularly, which keeps you on your toes until the odd (yet exciting) experience is over. 'Octopus Has No Friends' is by far the best named song on an album of fantastic song names, but unfortunately is also one of the most forgettable. The guitars drive ahead, the rhythms dance around and the melodies are well thought out but it lacks the punch of the rest of the album and feels stretched at times. It again channels a classic rock feel but doesn't do it nearly as well as 'Blasteroid', which makes it feel rather distant and impersonal. 'All The Heavy Lifting' is homage to the sound of the album 'Blood Mountain', putting fire in the belly with a heartfelt chorus surrounded by the rest of the song which is nothing short of a growling beast.
The album's title track 'The Hunter' anchors the album with the rest of the songs hanging from its limbs like bloodthirsty leeches, feeding from its ideas and melodies. It's the highlight for me and I can understand why it is the title track, with mysterious layered guitars and a theme that suggests fantasy, swords and sorcery. It strays into rarely visited territory for the band before reverting to something that would sound out of place on previous album 'Crack the Skye'. It builds with soothing solos into a big finish. Next up is 'Dry Bone Valley', which is somewhat of the beginning of the second act for the album. This ticks all of the boxes of what to expect from a standard Mastodon song, again including a funky edge that was heard in 'Curl of the Burl'. 'Thickening' is another album highlight, including a 90 second instrumental introduction before a psychedelic tempo change, drowning vocals and screeching guitars. A horror element is clear here as the track channels an evil sound.
'Creature Lives' is probably the most grand-scale song Mastodon have ever done. It's a space-age experiment, echoing the soundtrack to Stanley Kubrick's '2001: A Space Odyssey' at the beginning before building slowly and steadily. As vocals arrive, we are told the story of a mythical beast, as choirs and other instruments chime in, taking us on a medieval journey of bravery and adversity. After such an enormous track that affects you both emotionally and physically, the final few songs on 'The Hunter' feel less strong than they perhaps would have if they had been included earlier. 'Spectrelight' is thunderous, with guest vocals from Scott Kelly of Neurosis, but never really gets going. 'Bedazzled Fingernails' is odd and disorientating, sounding at times like a made for TV movie from the 60s telling tales of aliens invading. The whole affair ends with 'The Sparrow', which is swaying and attentive, the melodic detail coming from a dreamlike soundscape that is created. Once the song builds, everything soars into the sky and you feel as if you are gripping tightly to the wings of an enormous eagle as the wind beats against your face.
'The Hunter' is an accomplished album from an accomplished band, perfectly balancing all of the elements of Mastodon's style in an album that is progressive and thought-provoking. This one is not to be missed!
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