"Diamond in the Witch House" is a sprawling, nearly eight-minute closing jam.
Mastodon once more round the sun series#
"Aunt Lisa," with its knotty guitar intro, contains processed vocals, a series of rising and falling key changes, and the Coathangers guesting - cheerleader style - in a chanted vocal chorus à la Faith No More's "Be Aggressive!" There are also some substantive guitar pyrotechnics in the extended solos in "Halloween" and "Ember City," which, due to their imagination and focus, add dimension to them as songs. "The Motherload," with its swaggering guitar heroics, is a wound-out yet nearly hummable prog melody, with a relentless bass and snare attack. It lets the "drop D" freak flag fly, with a near-shouted vocal, harmonic chorus, and spacy six-string interludes. "Chimes at Midnight" is intense, fueled by a mammoth chugging riff. The anthemic chorus melody and harmonies, and twinned lead guitar roar, were trademarked by Lizzy's Brian Robertson and Scott Gorham long ago. (Who better?) Its verse/riff structure weds Lynott's rhythmic sensibility to Mastodon's dynamic aggression. There is one notable exception it's deliberate and obvious: "The High Road" boasts unapologizing Thin Lizzy worship, albeit ambitiously updated. The sound Mastodon pursues here draws inspiration from the '70s, without remotely being an exercise in nostalgia. The album was produced by Nick Raskulinecz, best known for his work with Foo Fighters and Rush. This set marks a fork in the road where Mastodon evolves once more, to cross over from metal's angular, sludgy power to adrenaline-fueled, hook-laden, hard rock. That said, as a collective, they unapologetically explore the more polished and accessible songwriting and performing craft found on The Hunter. Many of the tracks on Once More 'Round the Sun dig into the band's seemingly inexhaustible bag of monstrous riffs and wonderfully fractured motifs. Given the title of its sixth release, it's fair to wonder if Mastodon is hinting at 2011's The Hunter or its back catalog.
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