Mastodon
Crack The Skye

The Mastodon could have produced a new "Blood Mountain," reusing the formula that proved successful on the 2006 album. No one would have complained. The quality and quantity of elements put into play with that album were enough to support the band for many years. They just needed to vary the riffs and melodies a bit to produce another sure-fire hit. However, Mastodon is a top-tier band, with crystal-clear talent, and above all, it's a band that doesn't hold back, doesn't calculate for its own gain. They give themselves completely in the act of creation, with total dedication and truly excellent skills.

It was almost impossible to improve after an enormous album like the one from three years ago. They did it. But let's proceed in order.

"Crack The Skye" is a work that needs time to be fully appreciated. Unusual clarity in the vocal lines emerges right from the start. The timbre is less cavernous than usual, the melodies easily accessible. Just a few seconds of the opening "Oblivion" reveal this. A questionable, risky choice, yet supported by exceptional songwriting.

Some examples. The chorus of "Divinations" (the first single) is intense and stands out even more in contrast with the harshness of the verses. And what about "Ghost Of Karelia"? It may seem like a simple track, but it actually presents a highly elaborate melodic line with continuous changes in tone and time. All intertwined with a rich and functional musical fabric, made of powerful fill-ins and unsettling voids. Wild outbursts alternate with refined psychedelic drapes, magnificently framing the piece.

The melodies, therefore, perfectly match the musical mix, again of great quality. But let's dwell a moment on the melodic themes. There is a gradual yet decisive shift in the mood of the tracks. Increasingly present are certain melancholic shades, with a strong emotional impact. The first part of "The Czar" ("Usurper") suggests desolate feelings; sensations partially found in "Quintessence" (mitigated by an explosive refrain) and the concluding "The Last Baron".

Inevitably, there's a comparison with Blood Mountain regarding the complexity of the tracks. The 2006 album featured episodes of high structural richness and strong sonic polychromy.

The elements in play remain numerous but in a more accessible form.

When we think of masterpieces like "Sleeping Giant," something polymorphous, fragmented, asymmetric comes to mind. With "Crack The Skye," it's not like that; each track maintains a precise identity. Numerous tempo changes, an equally articulated sound fabric, but the evolving dynamics of the tracks follow easily perceivable lines. The abrupt breaks from before are gone, everything flows into a uniform and unstoppable stream. The concluding suite is rich in changes, tempo shifts, different melodies, alternating riffs, but it never feels challenging. There are underlying guidelines that remain and help the listener not get lost. A truly excellent result.

Even "The Czar," which doesn't shy away from rhythm or melody changes, has an easy-to-follow structure. Before, there was a tendency for a linear and, so to speak, chaotic development of themes. Now, circular lines are preferred, where the beginning and the end coincide. The instrumental richness of "Blood Mountain" remains; the acoustic guitar has a fundamental role here (in conjunction with the more elegiac moments) and contributes, along with a series of interesting sound effects (not immediately evident), to enrich the musical palette of the album. The electric guitar, then, is never repetitive; it can be rough and brutal (see "Divination"), threatening (the opening of "Oblivion"), psychedelic ("Crack The Skye" and "The Czar"), floating and elusive ("Quintessence") and the list goes on.

It certainly is an album that further distances itself from the hardcore brutality of "Leviathan," but that doesn't mean Mastodon doesn't know how to bite anymore. The refrain of "Quintessence" is pure adrenaline, as are the explosive riffs of "Divination." Not to mention "Escape" (within "The Czar"); a guitar bursts in that is furious, to say the least. A herd of bison storming into a previously absolutely calm prairie.

The riffs are always up to standard, proof of an inspiration that shows no signs of fading.

Another significant factor is the great cohesiveness of the work. The decision to reduce the number of tracks proved correct, minimizing dispersive moments and increasing the incisiveness of each piece. The runtime has decreased, in favor of a dizzying density of content. Only two songs exceed 7 minutes (and many last just 5), but all present an enviable amount of ideas.Increased is also the homogeneity; the tracks are connected to each other like never before. The melodic and violent impulses have found a meeting point and coexist in each track, instead of alternating (just think of the first four tracks of "Blood Mountain," all completely different).

An album that improves almost every aspect of its predecessor. We are facing a possible benchmark for progressive metal. Mastodon, on their fourth release, have yet to miss a beat. They reaffirm themselves as one of the leading names in the metal scene and as one of the most interesting, credible, and fruitful acts in current music.