Band: Mastodon | Album: Marrow Deep | Genre: Progressive metal | Year: 2026
From: Atlanta, USA | Label: Loma Vista
Mastodon is a trailblazing band in the realm of modern metal. As it stands, prog-sludge is one of the most popular varieties of progressive metal, at least by the sheer number of bands playing in that style, and much of that popularity can surely be attributed to these Atlantans.
In revisiting their discography prior to writing this review, I noticed something of a parallel to Metallica’s career trajectory. Both bands started off with four absolutely stunning albums. This phase of work was then followed by a shift toward more radio-friendly sounds. (Obviously, The Hunter was nowhere near the success that Metallica’s self-titled was, but there are still overarching similarities.) Metallica’s subsequent records have ranged from middling (Death Magnetic, Hardwired), to awful (Reload, St. Anger), to downright baffling (Lulu). Mastodon, meanwhile, has been more consistent (and simply better, to be frank), but their output since the masterpiece that is Crack the Skye has oscillated boring-to-okay.
Marrow Deep, the group’s ninth LP, comes at a time of major change for the band. It follows five years after their last album, the perfectly fine but overlong Hushed & Grim. It’s also their first release since the death of guitarist-vocalist Brent Hinds, following his messy firing from the band. Longtime touring keyboardist João Nogueira has also joined the band, officially making Mastodon a quintet, alongside new guitarist Nick Johnston.
The album opens with “Barbarians Blood”, where twisting guitar lines lead a stomping rhythm in its opening moments. There are more restrained passages, where guitars skitter about and keyboards add an eerie atmosphere. Additional flavors are drawn from sources as disparate as punk and jazz. Troy Sanders and Brann Dailor trade lead vocals, but this song gels beautifully.
“Poisonous Weapons” continues on in a similar vein, with perhaps a more psychedelic atmosphere. I love the integration of keys into Mastodon’s sound. It makes everything feel so lush and rich. Not that they necessarily struggled on that front previously, but it’s an exciting new variation. Contrasts in tempo and intensity continue on “Your Ghost Again”. Brann’s vocals, in particular, soar and feel majestic atop the swirling instrumental backdrop.
“Snakes for Dinner” calls back to Mastodon’s earliest releases with its raw energy and powerful groove, while the soaring chorus pulls in their best moments from albums like Once More Round the Sun. The synth solo is a ton of fun, too, and it’s exciting to hear keys play more than a supporting role for this band.
“Out Like a Lamb” has a more restrained opening. It’s not a gentle song, but the riffs are more controlled, and the drumming is more tight than propulsive. Keyboard embellishments add some fun texture, and in the moments where the band does let loose, twangy clean guitar notes cut through for some fun, subtle contrast. By its end, this song begins feeling a little long, despite all its good qualities.
Clean guitar and tinkling synths provide a mellow and rather pretty opening to “In the Ruins”. Even when the distorted guitar comes in, it’s more scratchy than blistering, lending a certain antique rustiness that fits the title well.That is, at least until guitars like machine guns burst in and the song launches off at a gallop. Despite having a lot of good elements, this song doesn’t quite come together in the same way as the preceding cuts. It’s all solid music, but things here just don’t quite fit together.
The opening of “They’re Coming for You” features some of the clearest classic prog influence on the record. Speedy, technical instrumental lines swirl around each other, and the combination of metal with organ and electric piano remind me of some of Opeth’s work. In fact, this is a very Opeth-y song overall, with its gothic-tinged verses and gentle moments of contrast.
It’s around this point in the album that things started running together a bit for me. “Golden Spires” is a solid cut, if not exactly distinct in the context of the record. “Moth and Bone” has a lovely gentle intro, with a more typically Mastodon-y second half. And “A Vampire’s Demeanor” is fairly straightforward, featuring some spookier, Opeth-y elements. None of these songs are bad, but they’re not exactly essential, either.
Marrow Deep ends on its two longest songs. “The Vanishing” begins as a quiet, restrained composition. Effects-laden vocals, wiry guitars, and enveloping keyboard tones evoke a dreamy atmosphere. The song’s climax is a powerful passage, with passionate screams and blistering guitar.
The album then ends with “The Three Fates”. Mastodon incorporates some alt-rock influence on this cut, especially in the vocal melodies. The midsection features narration over an ominous backing, and it’s mostly a success. Narration is tough to pull off well, but the end result here isn’t too distracting. What is distracting, though, is the jazzy instrumental noodling that follows. A bit of indulgence would have been fine, but this particular passage absolutely overstayed its welcome. Once they ditch the jazz, though, the song ends on a strong instrumental jam.
Marrow Deep is Mastodon’s best record since Crack the Skye. The riffs are energetic and vital, with a lot of power and urgency behind them. The addition of a keyboardist has brought new depth to their sound, and the compositions are overall quite strong. It’s not a perfect record, mind you. It is longer than it needs to be, and the band could have taken a scalpel to some of the second half. Despite these gripes, I like what I hear, and it’s good to hear Mastodon back in peak form.
Score: 80/100
The Elite Extremophile 