Yer Metal is Olde: Mastodon - Leviathan

Angry Metal Guy

Back in their early days, Atlanta’s progressive sludge juggernaut Mastodon could do little wrong. I remember perusing my local independent record store and being taken by the striking artwork and Relapse seal of approval on 2002’s debut Remission, roughly around the time of its release. After being crushed and destroyed by the iconic opening track, my love affair with Mastodon began. I have experienced the highs and lows of the band’s storied career; from the magical peak from Remission to 2009’s masterwork Crack the Skye, through the more streamlined and uneven period of the past decade-plus, turning these once critical darlings into a divisive, though wildly successful act. Yet I’ve never truly disliked a Mastodon album, enjoying their modern work on a lesser scale while acknowledging their peak days are well behind them. But it was their early material that solidified my love for the band. This is all a long-winded way to introduce their colossal sophomore opus and modern classic Leviathan as the latest inductee in the Halls of Olde to mark its twentieth anniversary.

Leviathan by Mastodon

Whereas the explosive Remission was a raw, ugly, abrasive slab of sludgy, grinding extreme metal with a subtly ambitious streak and technical edge, 2004’s Leviathan marked a more refined, adventurous, and progressive shift. Still boasting a heaving, thunderous punch, Leviathan’s musical template formed a perfect match with the album’s epic conceptual narrative, based on the classic novel Moby Dick by American writer Herman Melville. Aside from the increasingly varied moods, textures, and melodic and progified leanings, Leviathan’s double-pronged vocal assault began to evolve in appealing, contrasting ways, dabbling in cleaner vocal hooks and dynamic trade-offs. The vocal diversity was further bolstered by quality contributions from Clutch frontman Neil Fallon and Scott Kelly (Neurosis). Meanwhile, the intimidating instrumental skills of the band’s four members were pushed and taken to new levels, broadening their sonic palette and exploring rich, intricate progressive territories, from mellower channels to the predominant ironclad riffage and roughened, sludge-driven heft.

It’s easy to marvel at Leviathan’s attention to detail, ambitiously complex arrangements, emotional depth, and outstanding musicianship. However, these varied elements are always in service of quality, memorable songcraft, and grounded maturity, impressing so early in the band’s career. Raw, riffy, and adrenaline-spiking, “Blood and Thunder” is a classic opener and perfect introduction to the album, beefed up by a superbly burly guest performance by Fallon. Aside from the sprawling length, gorgeous melodies, and shifting tides of the epic “Hearts Alive,” for all its proggy intricacies and grand scale, Leviathan is a remarkably focused and compact album, packing tons of cool ideas into tightly packed and memorable tunes. Ruggedly built, catchy, and aggressive songs like “I am Ahab,” “Island,” “Iron Tusk” and the driving, thrashy “Aqua Dementia” contrast neatly against their melodic counterparts, such as the psych-drenched excellence and earworm hooks of “Seabeast,” featuring woozy melodies and a crushing climax. “Naked Burn” follows a similarly trippy trajectory to ‘Seabeast,” again showcasing the spidery axework of Brent Hinds and Brett Kelliher, while Hinds’ developing cleans deliver memorable vocal hooks.

Leviathan has an excellent flow, and the pacing and sequencing are fluid and slick, while the songwriting quality retains a high standard throughout. On their journey, Mastodon took some brave and challenging risks and leaps forward on Leviathan, without sacrificing heaviness or their rough-edged roots. In particular, the clean yet gritty production and unrefined cleaner vocal choices contain an endearing charm that holds up well twenty years after its release. Brann Dailor’s restlessly inventive drumming may not work for all listeners. Still, I remain in awe of his incredible chops and how they complement the technical and endlessly interesting guitar work, not to mention the mighty bellows and low-end muscle of Troy Sanders.

Musically, Mastodon branched well beyond sludge confines to embrace their progressive inclinations, classic rock influences, and southern roots, crafting tune after tune of intriguing, clever arrangements loaded with layers to peel back and reveal, along with a slew of instantly gratifying hooks. Brawny sludge rock punch intertwines with brainy prog metal and technical nuance to awesomely cohesive and memorable effect. Leviathan is a timeless album, a classic example of Mastodon operating at the peak of their powers, and arguably their crowning achievement. And like any album worthy of Yer Metal is Olde treatment, Leviathan remains an influential pillar that still sounds fresh, innovative, and exciting to this day.

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