“Hushed and Grim” Review: The new album from Mastodon is complex and innovative

Nowadays most artists focus on releasing singles, especially in pop and EDM, and then later package them into EPs or albums. Why? Because of streaming platforms, playlists, and “music consumption,” which pushes artists and labels to pursue “album equivalents,” witnessed by the new Billboard 200 chart, which does not quantify albums. Rather, it computes “music consumption,” i.e., a mishmash of everything.

So along comes Mastodon, the alt-metal/heavy metal outfit from Atlanta, Georgia, and what do they do? They drop their new double album, Hushed and Grim. Double albums are a rarity in today’s world, signifying Mastodon’s audacious disregard for following trends. Yet remember, this is the band that released an excellent sludge-metal concept album vis-à-vis, Moby Dick.

Made up of Brent Hinds (guitar), Bill Kelliher (guitar), Brann Dailor (drums), and Troy Sanders (bass), Mastodon, on Hushed and Grim, demonstrates their sonic evolution and maturity.

Speaking to the LP’s maturity, drummer Troy Sanders says, “One thing I’ve noticed about longevity is that you kind of eliminate layers of bullshit and become more honest. We pull authentic emotion from our life experiences.”

Encompassing 15-tracks, the best tracks on the album include “Pain with an Anchor,” opening on rumbling drums flowing into gleaming, gliding guitars topped by dreamy vocals. Intense and pervaded by devastating washes of color, the tune blends stuttering leitmotifs with pummeling momentum.

“Skeleton of Splendor” pushes forth on glistening, arpeggio guitars, reminiscent of Queensryche, topped by wafting, wistful vocals with delicious rasping inflections. While “Teardrinker” opens on penetrating guitars pumping out blazing hues. The flow of the harmonics gives the song cutting dynamics, along with a scorching guitar solo.

“Savage Lands” rides a galloping rhythm accented by stellar double-bass punctuation as searing guitars imbue the tune with raw, lashing energy. “Eyes of Serpents,” merges alt-metal and prog-rock textures into an undulating tune, as if Pink Floyd was covering Rush. The rise and ebb of the harmonics give the song luscious wavelets of sound.

The last track, “Gigantium,” the gem of the album, travels on thick waves of platinum-colored guitars. There’s a hint of doom surging through the tune sans the sepulchral tones. Rolling drum fills inject the rhythm with massive heft as longing vocals infuse the lyrics with urgency. A stellar guitar solo crowns the song with fierce licks.

Defined by complexity and poise, Hushed and Grim is elusively familiar yet still innovative, sustaining Mastodon’s reputation for refusing to allow their sound to rust.

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