Mastodon - Crack the Skye reviews
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| Rollingstone |
 Mastodon are a bunch of doom–haunted, myth–obsessed, meat–and–potatoes Southern badasses who have become the most important new band in metal. They awed the underground with 2004's massive, Moby Dick–themed Leviathan; then, in 2006, they grabbed the crown with the brutally psychedelic, ogre–hunting Blood Mountain. It established them as a rare beast: a band respected by diehards for its technical bonafides but also by indie rockers for its jump–cutting conceptualism. Mastodon are a full–on metal band for people who think they're too cool to like metal....full text |
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| Popmatters |
Two and a half years ago, we expected Mastodon to pull out all the stops on their hugely anticipated third album, and they didn’t disappoint, as the triumphant Blood Mountain had the Atlanta, Georgia band serving notice that they had every intention of being the standard bearers for American metal in the 2000s. What we didn’t expect was that the record’s overall sales numbers would be so middling. At approximately 150,000 units sold, that’s certainly no failure, but given the enthusiastic response to 2004’s Relapse-released Leviathan by both fans and critics, some outstanding tour exposure (supporting Slayer, playing Ozzfest, hitting the huge festivals in Europe, and even playing the hipster-friendly Bonnaroo and Pitchfork Music Festivals), and loads of label hype, their Warner Brothers debut, for all its boldness and ambition, seemed to stagnate after peaking at number 32 on the album chart. So when it was announced that Mastodon was going to record with producer Brendan O’Brien, who had brought his mainstream-friendly polish to Bruce Springsteen, AC/DC, and Velvet Revolver in the recent past, it was enough to have many wondering if the upcoming fourth album would be the band’s big stab at capturing an audience much wider than a bunch of extreme metal fans.
As it turns out, Crack the Skye couldn’t be farther from a mainstream-pandering effort a la the Black Album or Superunknown, and nor is it a continuation of the crushing yet intricate sound first established by 2001’s Lifesblood EP and 2002’s Remission. In its place, we have an album that’s all but ditched the crust/sludge heaviness in favor of exploring the sprawling sounds of 1970s progressive rock, with nary an obvious “single” to be found. With just seven songs on a 50-minute record, you know these guys have been getting their prog on....full text |
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| Clashmusic |
Be not misled by others proclaiming their wares as the stuff of legend: no metal release of 2009 is likely to be as important as ‘Crack The Skye’.
The Atlanta foursome have, over three previous LPs, began to establish themselves as a force for genuine progression within their chosen field; each album has brandished a considerable arsenal of riffs, designed for even the most meat-headed skull-banger to hook onto, yet the band’s pursuit of a higher level of appreciation has seen them embraced by corners of the critical collective who’d rarely ventured into such sonically acerbic territories. At every turn they’ve upped their own ante, conceptually and in terms of their accomplished execution. Last time out, on ‘Blood Mountain’, you could either enjoy the surface level thrills, or delve deeper for some serious lyrical exploration....full text |
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