MASTODON – ‘Emperor of Sand’ (2017)

MASTODON have been cursed with the talent to create magnificent works of art out of their most painful personal moments. Feelings of loss and death lie beneath the surface of the prog metal masterpiece ‘Crack the Skye’ (2009) as well as in the gigantic triumph of ‘The Hunter’ (2011). It is not surprising then that after two years, in which death had been a regular visitor in the personal lives of the four musicians from Atlanta, Georgia, their response is not despair – but the absolute musical brilliance which lies before you in the form of ‘Emperor of Sand.’

Lyrically, this is a concept album that tells the story of one’s journey towards death – from the embrace of its inevitability to the release it brings at the end. The way MASTODON have approached this grievously familiar topic and turned it into music also feels familiar. The palette is the same with which the band has painted its previous six albums – but the mastery with which it is used has been brought to yet another level.

In ‘Emperor of Sand’ it is not about the combination of seemingly incompatible beginnings – radio-friendly songs and musical ideas that are challenging in terms of complexity and saturation. In this album, these two things work together in favor of the songs – to the point that all 11 of the album’s tracks could be singles. No matter if it is an avalanche of crooked riffs (‘Sultan’s Curse’), an outstanding chorus (‘Ancient Kingdom’), a luring atmosphere (‘Steambreather’), an outlandish solo (‘Precious Stones’) – or as it is in the case of ‘Clandestiny,’ all of these in one song – every track has a vivid moment that grabs you instantly.

However, MASTODON have not betrayed themselves in favor of more accessibility. Go back to the abovementioned songs and listen to what is going on beneath the surface of the catchy melodies. The songs are full of details waiting for you to discover them – and that can make you feel you are hearing the album for the first time even after dozens of listens. The pristine production of Brendan O’Brien (‘Crack the Skye’, AC/DC, Bruce Springsteen) certainly helps with that.

On top of this, you have two songs – ‘Roots Remain’ and ‘Jaguar God’ – that take this multilayered approach and expand it into epic musical journeys. Particularly, the way ‘Jaguar God’ builds up from a ballad-like intro to a galloping metal riff is phenomenal in the way it does it so seamlessly, without feeling forced, and without getting stuck in one motif for too long. With that song, Mastodon have actually bettered the attempts by some of rock’s greatest bands from the past 40 or 50 years to develop the same kind of idea.

The above statement might feel a bit too strong. But given the level to which Mastodon have taken their music with ‘Emperor of Sand,’ you will be hearing such statements ever more frequently. Get used to it.