REMISSION

Remission is the first album from metalcore masters Mastodon. For a debut, it is very assured, but it's far from perfect. Brann Dailor makes this album a worthwhile listen. His work on Crusher Destroyer and Workhorse is some of the finest kitwork ever displayed. The rest of the band has yet to settle into the high musicianship that would reveal itself on Mastodon's next two superb releases, but there are some good solos.

Highlights of the album are Crusher Destroyer, Workhorse, and Where Strides the Behemoth. The rest of the album is sonically pounding but it fails to excite as much as the three Mastodon classics on the disc.

Fans of the heavy stuff have probably heard of Mastodon already, and bashers of metal probably have too. Mastodon, like just about any pog metal band, is love em or hate em. This is a strong debut, but newcomers should start with the other two releases.

Grade: C

Not their most progressive release, sure. But I'm rating this based on how it makes my loins feel, not on how King Crimson it is. Initially, my review of Mastodon's Remission was harsh...yes, harsh, it was years ago in my pre-sludge metal phase. But the sludgy goodness of Remission is top-quality as far as the genre goes; the riffs crush, the drums pound - Mastodon really bring the instrumental prowess here. Structurally, it's a bit more straightforward, but Remission hardly lacks the traditional Mastodon trademarks - in fact, one could argue that this is where they began. songs like 'Crusher Destroyer,' 'March of the Fire Ants,' and 'Burning Man' are the riff-based stompers that move mosh pits at festivals like Ozzfest (lol?), while the longer bits 'Elephant Man,' 'Ol'e Nessie,' and 'Trainwreck' trip out more (these songs call prediction to newer, more progressive oriented Mastodon). Still, one thing can be said for sure about Mastodon: they are brutal, they are angry, and they are ready to blow the mind of the average metal-head with advanced compositions and style that expose mallcore bands like Avenged Sevenfold for what they really are. And that is worms at Mastodon's feet.

Remission is the debut album from one of the most highly praised metal bands in recent years Mastodon. Like other bands in the genre that lies between hardcore, metal and mathcore it´s taken me a long time to appreciate the music of Mastodon. I have borrowed both Remission, Leviathan and Blood Mountain more than once to see if I could enjoy the music but still didn´t get the idea behind the music. I couldn´t understand that Mastodon was held in such high regard but I guess the time I spend trying to figure out the charm of this band has paid of in the end, as I finally understand why Mastodon is as famous as they are.

The music on Remission is technical metal with lots of hardcore influences which is mostly heard in the vocals though. This is not tech metal like Atheist or Cynic but a more modern anarchistic version. What instantly struck me even when I didn´t like Mastodon´s music much is how great their drummer Brann Dailor is. What a fantastic musician. His drumming style is very busy and insanely fast. His playing is what truly makes Mastodon´s music excellent. Well besides Brann Dailor´s unique and brilliant playing style the music is also very good.

The album consists of two different kinds of songs. Songs like the opener Crusher Destroyer, Where Strides the Behemoth, Burning Man and Mother Puncher are fast and furious technical metal songs while songs like Ole' Nessie, Trainwreck and the beautiful Elephant Man are more heavy songs with acoustic parts. These songs are generally a bit more melodic too.

The musicians are very good and besides the outstanding Brann Dailor there are some great things being played here. Heavy and sharp guitar riffs, distorted hardcore like shouting vocals ( which is actually one of the few weak spots on the album) and a general angry atmosphere. The music is a bit more intricate than your usual metal album.

The production is kind of muddy and dirty but the drums are produced in a way that makes everything stand out anyway. This sound is very powerful.

Remission is an excellent album and even though there are weak spots on the album like the vocals I´ll rate Remission 4 stars. The fourth star is solely for Brann Dailor´s unique drum playing which I just can´t forget is so great.

Mastodon - 'Remission' 3.5 stars

Like most of the top acts of any genre of music, the debut album shows potential and promise, but still has a way to go.

Mastodon ditches some of the more amateur influences featured on their debut EP 'Lifesblood' and conjure up more tunes with more contrasts, better structures and plenty of twists. If Brann Dailor's performance didn't impress the listener enough in the prior CD, this one will break whatever the previous opinion was, because he plays even better. It goes without saying, he is clearly number one on this album again. Brent Hinds and Bill Kelliher's guitar work is also a huge step up. The thrash influences apparent on the preceding album is nearly void entirely! They are more focused upon complexity and variances in the rhythm section with plenty of complementary melodies that became a primary role in later Mastodon records. The sludge elements are just enough to not become boring, but rather giving the songs an extra edge in terms of keeping them more interesting.

The factor that can always turn fans away completely and never to return is the vocals. They are harsh, but still understandable. Sung in very low registers, but far from being death growls, it is more tolerable then other bands with harsh vocalists.

With that being said, this is a very good album. Some really heavy metal with complex rhythm structures and melodies thrown in over them with time signatures is surely going garnish a prog-metal fan's attention. Once again, Brann Dailor gets an A+ for an unforgettable drum performance.

All circles created with intention....

Mastodon's first true album, and what a stomping beast. These guys most certainly fit the title they have bestowed upon themselves.

The songs are unholy sludge bombs that wreak havoc and smash everything in sight. This is melodic death metal at its peak. Crusher destroyer is violent and dark, while March of the Fire Ants adds high levels of visceral melodic lines to the mix. Each song is marching to the death with its fiery vitriol. The lyrics are good, especially for the genre we are talking about. Thick and distorted beyond oblivion. A lot of people will be turned off by the overall rage and violence atmosphere that brims and fills each song. Where strides the behemoth is one of the sludgiest tracks, and it is muscular and biting. Especially in its seeming criticism of religion in the eyes of a warpath striding barbarian. The lyrics seem to be steeped in dense and barbaric imagery, with images of death, marching war ants, and workhorses. Ol'e Nessie starts off very stark and melodic, showing some diversity, before turning into a sludgy beast from the depths of hades. From burning man to trampled under hoof, this album enslaves you to an atmosphere of claustrophobic firestorms, and hot pressure.

The biggest flaw with this record, which is an amazing record, by the way, would be overall lack of progression or diversity. Everything else is delivered in giant wildfire explosions of intelligent death metal.

Highly recommended, but not their best work. 4.5 stars!

Very 'eavy.

Being very impressed with Mastodon's latest effort, Crack The Skye I decided to research their back catalog, working backwards from their latest effort before finally arriving here at their debut, which shows the band in a very embryonic form. It's very clear that at this point the band didn't really know where they wanted to take their music, or maybe they did but didn't know quite how to do it. While this problem would be fixed by the time of the release of the magnificent follow-up, Leviathan, this album is a little bit harder to get into.

What's simultaneously interesting and grating about the band at this point is that they're very raw. While their sound is definitely present, there's a certain amount of generic material that sounds like it could have been done by any metal band these days. A number of the tracks are fun and head-bang worthy, but not overly memorable. The band's experimental side that we all know and love had not yet emerged and the result is a lot of thrashy material such as Crusher Destroyer and Mother Puncher.

This is, of course, not to say that the album does not have any moments worth listening to. Indeed, the album is still littered with gems, especially for people who fancy themselves as fans of the band. Where the band's real personality does show there's some magic moments to be had. March Of The Fireants is the second track and the first to really show how technical the band can be on their instruments, but it's not until tracks like Ol' Nessie, Trilobite and Elephant Man where they boys really pull out the impressive stuff, including many interesting riffs and time changes, enough to keep any prog metal head interested.

Perhaps this review is a touch unfair considering that the expectations on the band were so high, but in context it still gives a fitting image for those looking into this band, who have gotten so much attention recently. Remission is good for people who know what to expect from the band, fans who are looking for more than just the three better known albums, and people who like to bang their heads a little bit more than others. Make note that this album is not experimental or groundbreaking like their more recent releases and you'll still have yourself a good time. Overall a 2 out of 5 - for collectors and fans - Good, but far eclipsed by other material from Mastodon.

Remission is the first album of the Atlanta based metal/hard core foursome Mastodon. It is without doubt their fastest, most furious and most unrelenting album, betraying little of the prog and melodious ambitions that they would claim on their later albums. And guess what, it's pretty much my preferred Mastodon release.

The material is harsh, wild, fast-paced and catchy, everything a metalhead is craving for and more. Mastodon occasionally opens up their heavy sound to allow for more ambitious compositions and more attention to the instrumental development. Trainwreck is a great example, and also Trilobite shows them from a more experimental and jazzy side.

The bulk of the album consists of short and aggressive songs with demanding technicalities, especially Brann Dailor must be mentioned for the remorseless attack on his drum kit. I'm sure it will register as over-drumming for many, but given my indulgence for drummers with attention-deficit hyperactivity disorder, I can't any fault with it. At least not on this album.

For prog-heads, this album isn't the recommended starting point to discover Mastodon, Im' sure you didn't need this review to tell you that. I would advise to travel backwards through Mastodon's catalogue to find out how far you want to go. The musical quality, the drive and the inspiration on this album are undeniable though and make it into an outstanding metal album. 3.5 stars

'Remission' - Mastodon (7/10)

Now one of the most widely acclaimed and celebrated metal bands of the modern era, US progressive sludgemen Mastodon seem to get most of their attention for the three albums that would trail this debut. For one reason or another, it appears as if 'Remission' ducked under the radar for even some of the band's more dedicated fans. This is made very peculiar by the fact that despite it's rough presentation and imperfections, 'Remission' is a relatively enjoyable piece of work.

While I do not consider myself a big fan of this Atlanta-based group, I gained a measure of respect for them after listening to their 2009 opus 'Crack The Skye,' an ambitious concept album that incorperated a hefty dose of psychedelic and progressive influence into their gritty metal sound. 'Remission' shows the band at a much more stripped down and feral state, relying moreso on the power of each guitar riff than anything else. While the fact that the music doesn't have a great deal of depth to the compositions or recording could spell weakness when briefly glanced over, the power to 'Remission' is greatly endearing, to say the least. The music here is driven by crunching riff after riff, backed up by some incredible kitwork by Brann Dailor.

On that note, the drumwork really brings the music alive, it feels at any given moment, Dailor is dishing out something interesting with the drumming. The rest of the musicians don't necessarily stand out for each of their respective instruments, but the instruments are generally well orchestrated. Every once in a while, there is even the signature frenetic guitar lead riffs (that would be heard in greater detail on albums like 'Blood Mountain') here which despite taking part on an album that generally exercises intensity over complexity, still sound pretty great.

The production isn't the best, but it's excusable due to the feral, fiery nature of the music being played. Towards the latter half of the album, the songwriting tends to be slightly less memorable, although the last two tracks ('Mother Puncher' and 'Elephant Man') pick things back up again for a satisfying finale. The highlight of the album is the way in which it starts off, however. The first three songs flow together very smoothly, each filled with great riffs that overstay their welcome, interspersed with some surprisingly technical lead work and growls typical of the sludge metal scene.

Although I haven't been fully convinced by some of the later work of this band, 'Remission' has really caught my interest for it's fantastic riffs, energy and display of aggression. It does feel as if the band would lose a little bit of this flame in following albums, making way for a more progressive and musically ambitious feel. Despite lacking the depth of it's musical successors however, 'Remission' is essential listening for the unwary Mastodon fan. Sludgy, angry grandeur.

6/10

Energetic debut, mixed feelings.

Mastodon is one of the strongest names in modern heavy metal, and it is not difficult to identify why, with your sound heavy and full of influences. But what sets it apart from other bands of the genre (which I believe is the main reason why they are here on the site) is the way they are worth the aesthetic and progressive jazz, reflected in measures disparate and intricate instrumental sections.

This is even more evident with the drummer Brann Dailor, a genius who is absolutely the highlight here. Seldom heard a battery so furious and energetic, and God, that's wonderful! As a drummer, that's what I pay my attention, and Dailor quickly occupied a position in my list of best drummers.

If they keep up with this range of influences, would not hesitate to give them a higher rating. But unfortunately the album is weakened by the use of guttural growls of vocalists (yes, there are more than one). I can not stand it. I mean, it is one thing to hear a guy like Devin Townsend making use of its eclectic range of vocals in their music, another to hear an album that guys just scream! Never liked this kind of vocal and with Mastodon is not gonna like that. For at least the next album they will offer us more clean vocals ...

3 stars because of growls. But other than that, it's a chilling debut, and I'm still convinced that I will be quite surprised by this band.

MASTODON make their debut with REMISSION showing the world a new kind of progressive sludge metal that was invented by Neurosis but adds more aggressive elements such as the more frenetic riffing of the dual guitars of Brent Hinds and Bill Kelliher but the star of this and most MASTODON albums has to be the incredible hyperactive drum playing of Brann Dailor. He alone gives this band a unique sound that I have heard is due to the fact he learned to play with the guitars instead of the bass as most drummers do.

REMISSION is by far the heaviest sounding of any MASTODON album so far. It delivers a brutal sound that matches the intensity of any death metal band like Behemoth or black metal fury as of Emperor but still manages some more low key moments for the sake of diversity. It screams out that it is uncompromising and occasionally when all but the bass fall silent we can hear the true inventor of all this wrath as lead vocalist and bassist Troy Sanders pounds away on the bass like 10 Geddy Lees in unison. He explained that one of the main influences of this album was a place to channel his pain and angst regarding the suicide of his sister during his teenage years.

Although these are fast and furious tracks that lack the progressive tendencies of later albums for the most part it is clear by tracks like "Elephant Man" that MASTODON is toying with the world of progressiveness in their music and clearly show that not only are they interested in taking it on but are more than capable of delivering interesting results that leave the listener wanting to hear where they take the next step in their musical development. Not their best album but a very strong debut nonetheless and only seems slightly inferior because of the extremely strong albums that follow.

Debut full length of the Atlanta's kings of trash-death-technical-prog-metal!!!

This album contains the typical hoarse vocals of Troy Sanders and his saturated bass playing, great and technical guitar playing by Brent Hinds and Bill Kelliher, and the well-known amazing drumming by Brann Dailor and tons of heavy and progressive tracks.

Sadly, the songwriting is not so compelling like in the similar but much better Leviathan or the proggier Crack the Skye, making this record a bit dull in the long term despite some tracks where the band tries to make something differing like the sludge-prog Trilobite and the much more melodic and very interesting Elephant Man.

Best Tracks: March of the Fire Ants (typical Mastodon power), Where Strides the Behemoth (great riffs and a classic in live concerts), Trilobite (one of the most progressive tracks of the album with excellent guitars on it) and Elephant Man (melancholic and meditative guitar work, which shows the band's versatility which would make them great in the future)

Conclusion: this first album of Mastodon is much in the vein of the later Leviathan, but with a songwriting which is not so refined yet and some repetitive ideas which makes the hearing of the album a bit boring in the long term.

So, although Remission is a good tech-metal album with some killer tracks and passages on it, if you are new to Mastodon, I would recommend you to start with one of their later albums!

My rating: ***

Mastodon's first album is in my opinion their heaviest and it got them off on the right foot. Remission is very heavy, with there being no clean vocals and there being lots of very heavy drop A riffs. Fire is a concept on the album, as Mastodon's first four albums have an elemental them going on with them, with this on being fire. It is also about drummer Brann Dailor's sister, who committed suicide, which is where the album title comes from as the album helped the drummer cope with her death. Sad stories aside, the album is very sludge metal like, and it even has some thrash metal like moments going on too. The progressive rock influence also exists, with songs like Trainwreck and Ole' Nessie slowing down and showing the other side to the band.

With very heavy riffs, distorted bass, jazz-like crazy drumming, and non-stop screaming, Remission should appeal to any fan. I wouldn't start with this album as an introduction to Mastodon, but nevertheless, it is a pretty good album.

Mastodon are one of my all time fav bands, so I've decided that my first reviews on this site should cover the discography of the Atlanta masters.

Remission is the first full-lenght the band released after two EPs (being Lifesblood actually rather good, and Slick leg a bit meh on my eyes) and a series of demos. And we all know how this is, a brand new band finding his own space within the enormous metal market seems like a very daunting objective nowadays, but Mastodon were not like all the other bands. They took the world by storm, and in a genere that back in the day had no repercussion at all made a complete hit, praised by public and press alike. And with good reason, because Remission is as good as an sludge metal debut can get.

The album is a compendium of heavy as hell riffs one after the other. Furthermore, the band took you by surprise in the first half of the LP, which includes almost all the speed and heavy songs. "Crusher Destroyer" is a bit simple, but the crushing syncopated riff and the superb drum patterns by Brann Dailor (something that is a common thing for all the album) make it worth. "March of the Fire Ants" for its part has one of the best riffs the band has ever offered, and starts introducing a little bit of the prog elements the band it's kwown for. "Where Stride the behemoth" and "Workhorse" use the same formula as the songs before and are really good on its own (I specially enjoy the second), but we're almost 15 minutes in and there has only been one type of song. Luckily, Mastodon then drops "Ol'e Nessie", the first trully progressive song of the record, with psychodelic guitars on the beggining and an almost doom aura to it which I truly love.

And for that reason I believe that the second half of Remission is what takes the cake. The songs on the first half are really good (specially "March of the Fire Ants") and will appeal to the more metal-oriented fanbase of the band, but it's on the second half where the more progressive stuff and interesting songwriting is concentrated. "Trainwreck" is my fav song and reminds me of things that they would do on later albums such as Blood Mountain or Crack the Skye. My other favourites are the proggy "Trilobite" and the beautiful instrumental "Elephant Man". "Mother Puncher" is also a very good song with a killer riff that has become a live staple for the band.

For me the biggest downsize of the album would probably be the vocals. I find them rather boring, with no variety at all. Here Troy takes care of almost all of them, with the exception of Hinds on "Workhorse" and other exceptional moments, and they are simply speaking not that good. And don't misunderstand me, I love Troy as a vocalist, but I also think that his abilities were not developed at all at this time, and the changes between vocalists of the later albums are one of the things that made Mastodon so diverse and fun to listen.

In conclusion, Remission is a very good album and a strong debut, but it falls more on the metal side than in the prog one. For me that's not a problem because I started listening to metal and then I discovered prog, but if you are more a proggy guy than a metal one i recommend you to start listening to the band on another album, such as Crack the Skye or Blood Mountain. As long as my personal tastes are concerned, this LP deserves four stars, something between an 7.5-8.0. But because we are on a prog site and not in a metal one I will rate Remission with three stars, as it is a excellent addition to any metal collection, but a non essential for a prog one.