Mastodon - Crack the Skye

Mastodon
Crack the Skye
Reprise 2009

People made a big stink about the fact that this album was going to be produced by 90’s rock production guru Brendan O’Brien (STP, Pearl Jam, etc.), just like people made a big stink about Blood Mountain being released on a major label. Well, Blood Mountain still sounded like Mastodon, and still kicked major ass. The question remains, does its follow-up, Crack the Skye, do the same?

Opening with the ominous guitar tones of “Oblivion,” it was evident from the get-go that this is still recognizably Mastodon, if not a big more subdued. With its verses sung by drummer Brann Dailor, “Oblivion” sets itself apart from any other song in the Mastodon catalogue almost immediately. Dailor’s voice is not the raspy, twangy sound that guitarist Brend Hinds presents behind the mic, nor is it the deep, soulful bellow that bassist Troy Sanders has displayed. Dailor sounds more like a laid back Josh Homme type of singer, and it fits the vibe of “Oblivion” perfectly. Sanders sings the powerful pre-chorus, before it erupts into what is arguably the best, most memorable chorus Mastodon has ever laid down, sung by Hinds. This song is just a huge, catchy prog-rock song that is simple in structure, but deep in riffs and melody.

“Divinations,” the first single and second track, is the song that most resembles older, heavier Mastodon. A straight-forward rocker with growling Hinds vocals during the verses, the chorus boasts a cleaner-than-usual Sanders vocal, but one that’s extremely catchy and powerful. A great riff-rocker, “Divinations” is a great bridge between the old and new Mastodon.

“Quintessence” did not impress me much at first, as it had the trademark Hinds pull-off guitar licks that bordered on country, interspersed with a rocking Sanders-sung chorus, before a trippy, melodic middle section. At first, the song felt sort of all over the place, but upon repeated listens it becomes more of a cohesive, flowing number.

The fourth track, “The Czar” clocks in at 10:54. I wasn’t too worried though, as my favorite Mastodon song, “Hearts Alive” from Leviathan is about 14 minutes long, and never boring. “The Czar” also falls into this category, opening with producer O’Brien on the organ, bleeding into a clean arpeggiated guitar line that is accompanied by a haunting Hinds vocal warning of an impending assassination. The song explodes just a few minutes in, into the funkiest and most rocking riff on the entire album. This song is divided in the liner notes into 4 separate movements not unlike a classical piece, except this is a classical piece of hard rock/metal/progressive genius. This song could be the best that the band has ever written. It has everything a Mastodon fan could want – intensity, adventurousness, catchiness and just flat-out ROCK.

“Ghost of Karelia” opens with a riff not unlike the intro to Blood Mountain’s “Sleeping Giant,” but more upbeat. The almost monk-like chanting vocal line that accompanies the main riff is eerie, and fits the vibe of this mellow song. Sanders’ upper-neck bass lines are a highlight of this song, as is Dailor’s understated cymbal work on the drums. This is probably Sanders’ strongest song as a singer, especially around the 1:45 mark when the riffs get considerably darker and heavier. On past albums he would have growled unintelligibly, but he has grown into a clear, powerful enunciator who can more than hold his own on the mic. When Hinds comes in at 2:35 on the mic, it reminds you of the way Staley and Cantrell complemented each other’s distinct voices in Alice in Chains.

“Crack the Skye” opens with clean, arpeggiated guitars that end up giving way to guest vocalist Scott Kelly’s dark bellow. The lyrics allude to Dailor’s sister Skye, who committed suicide at the age of 14. This is by far the heaviest song on the album, both musically and subject-wise. Kelly’s voice goes well with the down-tuned chugging riffs, and Sanders’ Ozzy-esque clean vocals that trade off really fit the creepy tone of the song. Hinds also lays down one of his best solos on this track, laying off of his crazy country-influenced “chicken pickin’” and focusing more on soulful, bending notes.

Closing track, “The Last Baron” is also the longest on the album at 13:00. Opening with acoustic guitars (and possibly banjo), this is a trippy, psychedelic rocker that is very Floyd-meets-Sabbath in style. Hinds’ lead guitar work is another highlight of this song, as is his lead vocal performance, which is also Ozzy-esque. This song has just layers upon layers of guitar tracks during the atmospheric parts, but strips it down when it picks up the pace. This is another great song that never gets boring, and certainly doesn’t feel like a 13-minute epic. Definitely a great way to close out the album.

Wrapping up, I can easily say this is the best album I’ve heard in 2009. It’s certainly Mastodon’s most mellow, experimental album, but it is never boring, and always captivating. I was confused and mesmerized by my first listen, but now after my 4th time through the entire album I can say this is almost on par with Leviathan, my favorite Mastodon offering. Definitely worth hearing if you’re into any kind of hard rock that isn’t afraid to push boundaries. Highly recommended.

A

Matt Steele