Mastodon - Crack The Skye Review

Posted by Matt Shoemaker on 04.11.2009

The Atlanta based heavy/prog metal quartet return with a new concept album and some new sounds. How does it stack up to their previous efforts?

The Band
Brann Dailor - drums, vocals
Brent Hinds - guitar, lead vocals
Bill Kelliher - guitar, vocals
Troy Sanders - bass, lead vocals

The Album



Track Listing
1. "Oblivion" 5:47
2. "Divinations" 3:39
3. "Quintessence" 5:27
4. "The Czar: I. Usurper - II. Escape - III. Martyr - IV. Spiral" 10:54
5. "Ghost of Karelia" 5:25
6. "Crack the Skye" 5:54
7. "The Last Baron" 13:01

Mastodon’s creative juices for this album, as revealed in an interview with Rolling Stone, came from hallucinogenic acid. This is something that should be kept in mind when listening to this album. There is a definite progression in style on Mastodon’s part from Blood Mountain to this point, and even more so from their beginnings. Gone is the frantic coalition of speed from the guitars and drums. The harsh vocals, while still present in some form on Crack The Skye, have been toned down a bit more. However, just because it might not sound the like Mastodon you love, this does not mean this is a bad album. Filing this under the “bad album” heading couldn’t be any further from the truth. This album, like (to my knowledge), all of Mastodon’s, is a concept album, something that always proves to piqué interest somewhere along the line.

The band has revealed that there are multiple meanings behind the album. Drummer Brann Dailor revealed that, most importantly to him, the album is a tribute to his sister, Skye Dailor, who committed suicide at 14, saying that “… it means the moment of being told you lost someone dear to you. That moment is enough to crack the sky.” Another meaning, one that fits this into the concept album category, is something along the lines of a science fiction novel.

"There is a paraplegic and the only way that he can go anywhere is if he astral travels. He goes out of his body, into outer space and a bit like Icarus, he goes too close to the sun, burning off the golden umbilical cord that is attached to his solar plexus. So he is in outer space and he is lost, he gets sucked into a wormhole, he ends up in the spirit realm and he talks to spirits telling them that he is not really dead. So they send him to the Russian cult, they use him in a divination and they find out his problem. They decide they are going to help him. They put his soul inside Rasputin's body. Rasputin goes to usurp the czar and he is murdered. The two souls fly out of Rasputin's body through the crack in the sky(e) and Rasputin is the wise man that is trying to lead the child home to his body because his parents have discovered him by now and think that he is dead. Rasputin needs to get him back into his body before it's too late. But they end up running into the Devil along the way and the Devil tries to steal their souls and bring them down…there are some obstacles along the way." If that sounds a bit confusing, don’t worry. You’re not alone in thinking so. Like I said, however, that does not stop this album from delivering in almost every aspect.

From the moment those first chords ring out in “Oblivion”, Mastodon makes their presence known to their listeners. The buildup from the intro the main body of the song is stunningly beautiful, and out of nowhere, effortlessly switches to a steadily paced rhythm. The vocals are still powerful, but manage to do so without being too loud. The chorus of the track, which consists of incredible vocals set against warming chords, is reminiscent of Ozzy Osbourne and Zack Wylde. The band manages to stretch this song comfortably within the near six minute duration, as there is never a single moment that feels wasted.

The album effortlessly glides through its seven tracks, and at points does so in such a way that you don’t even notice the next track has begun. However, some songs contain incredible intros, such as the near 11-minute epic, “The Czar”, which starts off with a haunting melody, while eerie vocals creep in behind the guitars and drums.

Although I wouldn’t call it a complaint, the only thing that really threw me off about the album was that, like I mentioned before, it’s not the typical Mastodon sound that their fans love, which is sure to divide their fans a bit. The creepy vocals, complex riffs and incredible drums are still here, but they’re hidden behind an awesome story and interesting execution. The vocals seem to have toned down a bit, singing more often than screaming/growling, and the guitars have shifted to, usually, a more melodic tone, though the dissonant, almost awkward riffs still pop up from time to time.

The 411: Overall, this is an awesome listen. It's incredibly easy to get sucked into these tracks and lose yourself in the story the band is trying to tell. Fan of the band or not, this is a must have.

Final Score:  8.5   [ Very Good ]