Review Summary: Barren Wastelands Give Mastodon the Opportunity to Rise from the Rubble
A lot has led up to Mastodon's seventh studio album, Emperor of Sand. After 2011's The Hunter and 2014's Once More 'Round the Sun, there were no signs that Mastodon's creative well was running dry. Sure, neither release came close to making the same impact their first four studio albums did, but still, there was no denying the massive talent that each of the four individuals who made up the mighty Mastodon had. The question then became, "Where do they go from here?"
Does Mastodon keep going down the path of radio-friendly alternative metal that their 2011 and 2014 releases sent them down, creating catchy songs laced with their unique brand of psychedelic heavy metal? Or do they return to their pre-2011 releases and write another concept album? They haven't covered the classical element of air yet, I thought to myself, speculating what the band could be up to next. It turns out Emperor of Sand is a resounding 'Yes' to both those questions and then some, covering the concept of death as it relates to being diagnosed with a terminal illness, cancer in this case, and the devastating journey that the ominous toll of the bell sends one down.
Many of Emperor of Sand's songs encapsulate that rush of anxiety, dread, and impending doom that I would imagine would course through the veins of anyone who has just been diagnosed with a terminal illness. The music helps give the lyrics a bit more meaning and thrusts you into the world Mastodon has created on Emperor of Sand, which tells the tragic tale of a lost individual who is left wandering through a barren desert after being sentenced to death. As one would rightfully expect, this leads our main character down a grim and introspective journey from their point of view and of anyone who may be close to them.
Mastodon seems to write their best material when focusing on a theme, which I believe the absence of led to the most glaring issue with both The Hunter and Once More 'Round the Sun. Each of those releases felt like a collection of songs, meandering about with no real purpose. Two themes are consistent across Emperor of Sand's 51-minute length: death and time. The album, and Mastodon, are better off for including them. Although they don't break any new ground, they opt to improve upon the formula they established on Crack the Skye nearly eight years ago.
A barrage of heavy-hitting riffs, thunderous drumming, well-executed vocal trade-offs between all three singers, and blistering guitar solos from the madman himself, Dirty B. Hinds, all lend themselves to creating the spectacle that is Emperor of Sand. (I think Hinds' best-written guitar solo to date is at the end of Roots Remain.) All members make their mark on the album, writing songs full of their unusual groove/thrash/sludge/alternative-metal concoction, one they've been brewing since the turn of the 21st century.
Even on their poppiest song to date, Show Yourself, Brent and Bill lend great guitar leads, stamping it with the signature Mastodon sound that fans of the band have come to adore. Brendan O'Brien returns as the album's producer. Although not as well executed as on Crack the Skye, his production magic helps emphasize twists and turns that would otherwise not be apparent. The brilliant studio production and sound effects give the album an extra razzle-dazzle, setting the stage for Emperor of Sand's story to come to life. The psychedelic sounds give the album that extra 'oomph' that drives the message home to the listeners; until that haunting laugh at the end of Jaguar God sends us off.
