It's Mastodon with their first post Brent LP.
So – lets get something out of the way now; I’ve seen comments like No Brent = No Mastodon. This is fine, it’s an opinion that you should hold to if its actually what you feel, instead of another way of saying you don’t like the band.
Whilst Brent was considered by many to be the heart and soul of the band, personally I felt that his influence and involvement had diminished over time.
There has been that falling out, and he left them behind. I’m not interested in the whys or wherefores of that, I like others weren’t going to be able change that status so you got on with it.
That separation became permanent following his untimely death which may just have served as the catalyst for a rebirth for the band. I suppose this is a long winded way of saying that if the lack of Brent will stop you from even trying a song from this, then you should leave and listen to something else.
Ok, now to the album.
So as you follow their progression from battering ram with a mad smile through to the more complex progressions and dense storytelling, we land at the modern version of the band, where they had moved beyond just heavy metal, and just played heavy music that went wherever it needed to.
Ok, now to the album.
So as you follow their progression from battering ram with a mad smile through to the more complex progressions and dense storytelling, we land at the modern version of the band, where they had moved beyond just heavy metal, and just played heavy music that went wherever it needed to.
The death of Hinds as well as Brann’s mother played a massive part in tone here, and the opening of Barbarians Blood is straight into that measure; its lush, built off a scale that is constantly moving. Its them, unmistakeably so. Guitar lines that fold in on themselves, the dual vocals of Troy and Brann are present and an arrangement that goes everywhere.
It doesn’t sound that far removed from Hushed And Grim but possesses a greater urgency to it. Subconsciously needing to write the best material they could weighed heavily on them, and for me this is a much more accessible album.
There is a section on Poisonous Weapons with Brann singing over one of those mint progressions that they just throw up on a whim. Do the lead breaks have the Brent Stamp? Of course not, how could they and it would be insensitive to try to do that.
Your Ghost Again is a cracker, one that you assume would have had Brent’s singing on it but without they are pushing as hard as they can to excise any negative feeling remaining. One thing that is clear is that there is no scraping of barrels from albums past; They are still creative, still writing music that you want to play yourself.
Snakes For Dinner with Josh Homme making an appearance is another strong effort which solidifies their approach – its heavy when it needs to be, but not if it doesn’t fit the song itself.
There are softer moments on here such as In The Ruins where the everything is dialled back but you know it won’t stay like that for long and it doesn’t. The fact that it went the way you thought it would does not make it a lesser song because having that dynamic to it makes it a better song than if it had stayed in its meek form.
The lead work is very good, Golden Spires being a wonderful example of this, nestled in amongst a superb riff set that channels tasteful delivery and pure skill and its something that repeats across the album on the whole.
They wrap up an hour or so with The Three Fates. In the past they have left a jewel at the end and with this one, I’m not quite sure. Of all the tracks this one could have been trimmed a little and it would have been better received.
It’s the sound of a band that has recaptured a feeling that was previously lost to them. The fact that Brent left has allowed them to move into their next phase, like marriage sometimes they fail and the separate parties have to move and evolve or risk repeating the same mistakes.
It’s the sound of a band that has recaptured a feeling that was previously lost to them. The fact that Brent left has allowed them to move into their next phase, like marriage sometimes they fail and the separate parties have to move and evolve or risk repeating the same mistakes.
Its recorded as a 5 piece now, with a keyboardist in tow to further fill that sound out. They do this in the right way, its not in your face and changing the sound dramatically, rather you just notice it and approve.
It is a song or two heavy; I will say that but if you consider that they had a lot to say I’m not going to penalise them for it.
It is a song or two heavy; I will say that but if you consider that they had a lot to say I’m not going to penalise them for it.
Each song has its own uniqueness to it, from a vocal delivery to a progression to a lead break, its so rich in what it offers the listener that even with a run time that could have been trimmed it is still one of the albums of the year for me. 9/10
Flotsam & Jetsam - Rats In The Temple (Napalm Records) [Matt Bladen]
RATS! RATS IN THE TEMPLE! I can almost see the face of the horrified priest as he screams, running from the pulpit as the mutated creatures gnaw their way through the walls. It's the kind of B-Movie silliness that has been closely associated with thrash metal.
However Flotsam & Jetsam are more than just your typical thrash metal band, yes they came out of the late 80's and even featured a bassist who would go on to be in Metallica, but since their 2019 album The End Of Chaos they have adopted a sound that sits them closer to the American power metal style.
Think Metal Church, Jag Panzer and you'll be in the right ballpark. Aggressive riffs, blast beats and tough vocals that come from the thrash side but with melodic lead guitars and choruses that are made to be shouted out loud as they deliver more dark tales of death, abuse, betrayal, and war, subjects that just fit the Flotsam & Jetsam aesthetic.
Eric AK Knutson's vocals are excellent, he snarls, shouts, wails, a powerhouse who has been leading the band since 1982, sounding as good now as he did then, better even.
Guitarists Michael Gilbert and Steve Conley share the rapid fire riffs on the blistering The Ghost Behind My Door and the widdly trade offs on The Edge Of Nowhere aland Last Rites, where Ken Mary (drums) keep the pace breakneck as William Bodily (bass) brings a tough groove to A Taste For War, locking in with Mary.
There are Rats In The Temple but Flotsam & Jetsam are ready to exterminate them with their sixteenth studio album and Napalm Records debut. 8/10
Those Made Broken - A Door You Can Never Close (Self Released) [Matt Bladen]
I had to do some research when I started listening to A Door You Can Never Close, as over a decade ago there was a post grunge band from Glasgow called Logan, they sounded a lot like Creed and Nickelback but also managed to creep their way into classic grunge bands like Alice In Chains.
The research I did was to see if fellow Glasgow band Those Made Broken shared any members from that band as they also have a grunge/post-grunge sound, but there's brings the likes of Karnivool and Soen to mind with an emotional alt rock sound, perhaps a more refined version of what they were doing before.
It's turns out this was not the case as singer John Murray and guitarist Scott Wood met at Glasgow music college and formed a band, joined by bassist Paul Robertson (ex-Dirt) and drummer Martin John 'Hutch' Hutchison (ex-Vega).
A Door You Can Never Close is their sophomore record and refines their alt rock to its most melodic and atmospheric, hooked on huge choruses such as Monsters.
Those Made Broken make sure that the songs speak for themselves, little messing around, just hard hitting tracks that are made for the stage, performed with conviction by musicians that all excel at their individual roles.
From the spacious drumming of Martin John, through the sprawling bass of Paul on the grooving These City Walls, Scott's guitar playing has the technicality and feel of Mark Tremonti on These City Walls and Have Everything as John Murray has one of the clearest, emotive and refined voices I've heard in a long time..
Beneath all the songs there's a vein of synths/keys that run through the whole record just creating atmospheric expression, taking over completely on final track Rest. These electronics take the band to a more accomplished place than many would be on their second album in my opinion.
So while there's no link to Logan, much like I loved them, I love Those Made Broken, I just how that they manage to break out of being an underground sensation into being the the next big thing, as on this evidence they deserve it. 9/10
Devil Master - Bloody Dreams (Relapse Records) [Mark Young]
I don’t think it happens often that I don’t like something from the off. Bloody Dreams is one of those occasions where I just found it a massive waste of time.
Flotsam & Jetsam - Rats In The Temple (Napalm Records) [Matt Bladen]
RATS! RATS IN THE TEMPLE! I can almost see the face of the horrified priest as he screams, running from the pulpit as the mutated creatures gnaw their way through the walls. It's the kind of B-Movie silliness that has been closely associated with thrash metal.
However Flotsam & Jetsam are more than just your typical thrash metal band, yes they came out of the late 80's and even featured a bassist who would go on to be in Metallica, but since their 2019 album The End Of Chaos they have adopted a sound that sits them closer to the American power metal style.
Think Metal Church, Jag Panzer and you'll be in the right ballpark. Aggressive riffs, blast beats and tough vocals that come from the thrash side but with melodic lead guitars and choruses that are made to be shouted out loud as they deliver more dark tales of death, abuse, betrayal, and war, subjects that just fit the Flotsam & Jetsam aesthetic.
Eric AK Knutson's vocals are excellent, he snarls, shouts, wails, a powerhouse who has been leading the band since 1982, sounding as good now as he did then, better even.
Guitarists Michael Gilbert and Steve Conley share the rapid fire riffs on the blistering The Ghost Behind My Door and the widdly trade offs on The Edge Of Nowhere aland Last Rites, where Ken Mary (drums) keep the pace breakneck as William Bodily (bass) brings a tough groove to A Taste For War, locking in with Mary.
There are Rats In The Temple but Flotsam & Jetsam are ready to exterminate them with their sixteenth studio album and Napalm Records debut. 8/10
Those Made Broken - A Door You Can Never Close (Self Released) [Matt Bladen]
I had to do some research when I started listening to A Door You Can Never Close, as over a decade ago there was a post grunge band from Glasgow called Logan, they sounded a lot like Creed and Nickelback but also managed to creep their way into classic grunge bands like Alice In Chains.
The research I did was to see if fellow Glasgow band Those Made Broken shared any members from that band as they also have a grunge/post-grunge sound, but there's brings the likes of Karnivool and Soen to mind with an emotional alt rock sound, perhaps a more refined version of what they were doing before.
It's turns out this was not the case as singer John Murray and guitarist Scott Wood met at Glasgow music college and formed a band, joined by bassist Paul Robertson (ex-Dirt) and drummer Martin John 'Hutch' Hutchison (ex-Vega).
A Door You Can Never Close is their sophomore record and refines their alt rock to its most melodic and atmospheric, hooked on huge choruses such as Monsters.
Those Made Broken make sure that the songs speak for themselves, little messing around, just hard hitting tracks that are made for the stage, performed with conviction by musicians that all excel at their individual roles.
From the spacious drumming of Martin John, through the sprawling bass of Paul on the grooving These City Walls, Scott's guitar playing has the technicality and feel of Mark Tremonti on These City Walls and Have Everything as John Murray has one of the clearest, emotive and refined voices I've heard in a long time..
Beneath all the songs there's a vein of synths/keys that run through the whole record just creating atmospheric expression, taking over completely on final track Rest. These electronics take the band to a more accomplished place than many would be on their second album in my opinion.
So while there's no link to Logan, much like I loved them, I love Those Made Broken, I just how that they manage to break out of being an underground sensation into being the the next big thing, as on this evidence they deserve it. 9/10
Devil Master - Bloody Dreams (Relapse Records) [Mark Young]
I don’t think it happens often that I don’t like something from the off. Bloody Dreams is one of those occasions where I just found it a massive waste of time.
Is it me? Maybe, but let’s blame them instead. Its 6 songs that bounce between metal and punk, with a lo-fi sound that sits within the just about recorded state to give it a touch of authenticity.
I couldn’t find anything here that I liked, and it’s not that I haven’t sat with this and give it a fair go. The songs just pass by without leaving a mark on me, and while I appreciate that they have a following and that the punk/crust approach works for some, I just couldn’t get onboard with it.
So, to try and avoid a hatchet job where I write some snarky words in an effort to make myself look better, lets settle on the fact that I didn’t like it.
So, to try and avoid a hatchet job where I write some snarky words in an effort to make myself look better, lets settle on the fact that I didn’t like it.
One positive is that the songs are by and large short affairs, and where they do stray into longer territory, they try to keep the speed up to ensure that you don’t get bored by them. Its likely that watching them live will be a different beast altogether, which is true for a lot of bands who excel on stage but struggle to capture it in the studio.
It is certain that there will be more receptive people out there than me and this will appeal to fans of that blackened/crust/punk mix, delivered with a horror edge to it. I wish I could be more positive, but I can’t. I’m sure that they won’t lose any sleep over it. 5/10
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