While we eventually warmed up to all the clean vocals, hooks, and compact song structures, there was no doubt a fair share of worrying amongst fans whether or not this was the new Mastodon, and if we’d have to get used to it, whether we liked it or not. The Hunter arrived amongst plenty of apprehension in 2011, furthered by the fact that Mastodon had not only ditched the far-reaching concept of their earlier work, but a lot of its heaviness as well.
Mastodon once more around the sun crack#
After 2009’s Crack The Skye, my personal favourite of the bunch, news arrived that Mastodon was working on new material and you could almost hear the collective gasp from the metal community when it was announced that the next record would not be conceptual. This tetralogy represents modern metal’s greatest achievement to date, as those four albums are literally perfect and have proved to be massively influential, arguably saving New Wave North American Heavy Metal from its floundering in the early 2000’s. Anyway, for the uninitiated, Mastodon’s output up to The Hunter was comprised of four now-classic sludge-prog concept albums loosely based around fire, water, earth and air. Future music historians can now relax as I’ve now gone through the trouble of neatly categorizing Mastodon’s discography with cool official sounding names and everything. Or, in other words, The Elemental Era and the Post-Elemental Era. In the future, when music historians (this will be a thing in the future) are studying Mastodon’s catalog (which they definitely will be), they will split the band’s discography into two distinctive halves: everything before The Hunter and everything after it.
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