Album Review: Mastodon – Marrow Deep

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.

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Odds & Ends: December 6, 2021

Band: Devour Every Star | Album: Antiquity | Genre: Progressive metal, Trip-hop | Bandcamp

This is certainly one of the more distinctive genre fusions I’ve run across. Buzzy black metal merges with spacey instrumental hip-hop passages to forge a distinctive sound. It’s spooky and laid-back, and it’s definitely worth looking into. As a whole, it feels a little long; I think this style may be better suited to a 20-minute EP. Nonetheless, it’s quite unique, and this act shows ability beyond simply being a curiosity.

Score: 70/100

Artist: Ehsan Gelsi | Album: Ephemera | Genre: Progressive rock | Bandcamp

This instrumental piece was commissioned by the city of Melbourne to celebrate Melbourne Town Hall’s 150th anniversary, thus it prominently features the town hall’s grand organ as its primary instrument. Ephemera is grand and majestic in its harmonious marriage of reedy organ and lush, liquid synthesizers. The whole album is quite warm, and it feels midway between Mike Oldfield and Rick Wakeman. Elements of classical and electronic music are regularly incorporated, making this a surprisingly diverse record despite its limited sound palette.

Score: 80/100

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Album Review: Not Otherwise Specified – Deadweight

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Band: Not Otherwise Specified | Album: Deadweight | Genre: Progressive rock | Year: 2019

From: Atlanta, USA | Label: Weeping Angel Studios

For fans of: Dream Theater, Kansas, IQ, Riverside, Spock’s Beard

Buy: Bandcamp | Amazon | Apple Music

When progressive rock first emerged as a distinct genre, the United States were slow to make a sound for themselves. The Brits were the genre’s progenitors, and they largely defined its archetypes and evolution. “Anglo-prog” is an awfully broad swathe of musical styles, but it conjures up a definite set of sounds. The Italians forged a unique niche, and the French, Spaniards, and Yugoslavs had their own identifiable quirks as well, to say nothing of Krautrock.

The American sound that eventually did emerge was pioneered by bands like Kansas and Starcastle: derived from the Anglo sound but grander, more bombastic, and less subtle. Not Otherwise Specified (NOS), while unmistakably modern, draw heavily from that mid-70s American sound. Continue reading “Album Review: Not Otherwise Specified – Deadweight” →