I've been working on a series of posts for a friend of mine.
In doing so, I've started a collection of short, creative responses to songs
that I've randomly selected - you know, like when a song pops up on your iPod
and you're suddenly transported to another place, forgetting about whatever you
were doing before. So have a listen to what's been on my mind...
Mastodon
“Curl Of The Burl”
Mastodon has been doing their brand of heavy, prog metal for
some time now. Given the other metal I listen to, Mastodon should be an have
been easy addition to my regular music rotation. For reasons still unknown, I
just couldn’t get into them. The latest album, The Hunter, came with a lot of
hype and stellar reviews, but I still couldn’t commit. Seeing them live changed
all of that. My friends and I actually arrived late and got inside during the
opening part of Mastodon’s set. Watching the quartet weave through years of
music, pummeling the audience with new tracks and fan-favorites, was inspiring.
Previous albums followed complex story lines and long track times. In contrast,
the Hunter is a straight-ahead, seemingly uncomplicated, and even ‘catchy’
metal album, spearheaded by “Curl Of The
Burl,” an infectious romp with tight verses, sing-along chorus, and even a
retro breakdown. Under the hue of blue and green stage lights, Mastodon
showcased the beauty and complexity in every note they played. On that night,
they easily won a fan in me.
Opeth
“The Lotus Eater”
For Opeth, the Swedish metal band (who once stated their
desire to be the most evil band ever created), “The Lotus Eater” is a song that
encompasses all of the sounds, influences, and aspirations of their 20-plus
year career. Death growls, blast beats, clean vocals, swirling guitars,
pummeling drums, and a few surprises, await you on an almost 9-minute journey
through creative prowess of singer/guitarist Mikael Akerfedt and his band of
technical masterminds. I was at the show where the YouTube clip of this song
was recorded. It was the first time that I saw Opeth live. It was a hot, dusty
day in July and the sun was just starting its afternoon descent toward sunset.
Packed in with a sea of like-minded metalheads vanquished any discomfort as
Opeth charged into a short, but fully loaded 45-minute set. It’s one thing to
hear a track digitally recorded, but another thing entirely to hear how bands
are able to tackle every nuance in bringing their songs to life with a live
audience. In “The Lotus Eater” Opeth showcases their command of sonic force,
elegant phrasing, melody, and dissonance. And the blistering organ solo is one
my favorite moments from their 20-year catalog. Embrace the journey and let it
take you as far as possible.
Isis
“20 Minutes/40 Years”
On this track, a firm bass growl carries you through the
gradual layering of sound and texture that Isis became so well-known for
crafting. Soon a raspy vocal growl barks from just above the growing din and
quickly melts into a melodic tone, perfectly in concert with the building
distortion. The words are nearly incoherent, yet you’re compelled to strain
your ears against the sound, like listening for voices through a gale-force
wind. Finally, sonic resolution brings anticipated release from swallowing
sounds. It lasts only for a moment before the waves of guitar swell and consume
you again.
As in many of their songs, the vocal never stands forward in
the mix in “20 Minutes/40 Years.” Isis uses the voice as another instrument for
the sounds and effect it brings to each musical thought. Just as guitars glide
from muddled distortion to ethereal picking, singer/guitarist Aaron Turner’s
voice changes to fit the mood; a brief solo before stepping aside for the next
passage. We tend to get absorbed by the vocalist, caught up in the showcasing
of talent and control over the audience. Its presence and power are taken for
granted. But here we find a completely different purpose, as the vocals are
integrated into the overall sound. This approach, whether intentional or just a
consequence of their style, is both unique and beautiful.
Yes, the songs are long and require dedicated listening to
absorb all the nuances, but patience is rewarded. This track is off Isis' final studio album, Wavering Radiant. I highly
recommend their other albums, too, including Oceanic and (my personal favorite)
Panopticon.
