mastodon blood mountain pdf download free Blood Mountain. The two-year long-wait is over, and those Mastodon fans encouraged but leery of the slicker production of Leviathan over Remission will be even more bemused, or downright bewildered, by Blood Mountain, the band's first foray into major-label territory since signing with Warner Brothers' Reprise imprint (after all, this was the label conceded to Frank Sinatra as his own when he threatened to leave it). Blood Mountain is everything fans both hoped for and feared. Mastodon has dug even deeper in its foray into prog metal, but without losing an ounce of their power, literacy, or willingness to indulge in hardcore punk, doom, and death metal. Like Leviathan, Blood Mountain is both melodic and downright raging in places. Matt Bayles is in the producer's chair once more and he's encouraged this Georgia quartet -- Bränn Dailor (drums), Brent Hinds (guitar and vocals), Bill Kelliher (guitar and vocals), and Troy Sanders (bass and vocals) -- to take it to the limit. And they have. Blood Mountain indulges and goes deep into the territory of prog metal beats and quests and spiritual revelations that have less to do with Tolkein-ism and more to do with Conan-ism. There are utterly beautiful melodic passages woven into the heaviness that are reminiscent of Thin Lizzy's dual guitar lyricism -- and the band has confessed to digging Phil Lynott and company. The vocals -- with guest spots from Neurosis' Scott Kelly, the Mars Volta's Cedric Bixler-Zavala, and Queens of the Stone Age's Josh Homme -- are mixed way upfront and the number of sheer stylistic changes is dizzying. No, Mastodon should not lose their street cred over this. For every old fan alienated, a new one will step into the gap and there will be throngs of new ones, more than likely. Why? Simply because this band does the technical thing as well or better than Meshuggah without sacrificing a bit of the black blood which courses through their veins toward their dark thrash metal hearts. The set opens with the completely in-the-red thrashcore metal of "The Wolf Is Loose," complete with a chanted chorus. As the guitars twin and scream, bass and drums chop away at convention. Tempo changes, from fast to faster to a refrain that gives the listener time to shout along. The doubled leads and repetition in the verse are countered by the swelling, pulsating thud from the drum kit. Lyrically, it appears that Mastodon is trying to create a new mythological present. But the bridge goes into the netherworld with actual sung vocals and angular, elliptical phrases that defy elucidation. The echoey sound effects on the drums at the opening of "Crystal Skull" quickly give way to a plodding power metal riff. "Sleeping Giant" comes out of the gate, slowly, dreamily, seductively, there are digital delays on the guitars that gather tension as they (relatively) whisper by, and create an ambience that crosses early Black Sabbath and Opeth. It's the vocals that are most remarkable, however, sung cleanly to a slow tempo, each word is distinct and the effect is nearly hypnotic as the strange, self-created cultic myth is further woven into a web of dislocation, epic ambivalence, mystery, and power. Prog metal is made plain on "Capillarian Quest," where intricate patterns and bludgeoning guitar riffs vie for dominance but are authoritatively held in Mastodon's deafening balance. "Circle Cysquatch," with its bloodcurdling extreme thrash and burn, tips it toward a virtual creation idea born of pagan rites, blood sacrifice, the spirits of extinct species, and the hollow ring of organized religion, all given their freedom here to drift back to prehistory and the days of fire and rage in the rough and tumble founding of "civilization." On it goes. Mastodon seeks no easy answers but poses dozens of questions about origin, and "culture." Forget "thinking man's metal," this is metal, period, and the guys that make it think. The music, as varied and tumultuous and, in places utterly beautiful as it is, place the band beyond the pale -- check the intro to "Bladecatcher" before it falls apart into pure chaos and cacophony where lyrics and themes are barely articulated in the hammering thunder of apocalyptic noise. Sound effects that perhaps are the voices of the spirits themselves make themselves heard in the din -- but indecipherably. "Colony of Birchmen" and "Hunters of the Sky" are both prototypically metal and act as the album's hinge pieces, where Mastodon completes its achievement and establish a new heavy metal. "This Mortal Soul," with its elongated beginning and utter lyricism may alienate those who live for heaviness alone, but it will attract those who can see outside the genre's subgenres. The set closes with "Pendulous Skin," a track that amounts to a densely populated power ballad with gorgeous guitar soloing, and a major/minor key chord progression (instead of riffs and a Hammond B-3) played by Bayles followed by a long silence, where at the very end, a "fan" letter is read and responded to. What does it add up to? Something old and something new, a heavy metal that's utterly gargantuan to wrestle with because it actually moves the style into brand new territory, an unfamiliar terrain which will accord it much name calling and crying of "sellout" by the unwashed masses who are more conservative about their steely brand of "folk music" than the Newport crowd was about Dylan going electric. Yet, for those daring enough to take this in, there are true bloody treasures to behold and receive. If Leviathan was a masterpiece, then this is too -- only more so. Blood Mountain. Prog-metal's best band returns with a record that may be even better than its monumental Leviathan LP. Please welcome the new monsters of rock. There's plenty afoot in the metal underground-- it's the mainstream version that desperately needs a new set of heroes. While junior-high faves Ozzy Osbourne, Guns n' Roses, and Metallica look like they could no longer eat the rich without gnawing on their own fatuous fingers, Mastodon are on the cusp of arena-sized success. The Atlanta quartet's already released two excellent full-lengths, 2002's Remission and 2004's Leviathan , as well as formative material in 2001's Lifesblood EP (which resurfaced earlier this year on Call of the Mastodon ). If Blood Mountain , their brilliantly upsized and unrelenting third album, doesn't confirm their position as the greatest big-time metal crew on earth, I demand a state-by-state recount. Anyone paying attention to heavy rock knows Leviathan is held in near-religious regard in metal circles-- it's an album that tops critical checklists and makes the kids shit their pants. I've spent a lot of time listening to Leviathan and the new record in tandem, and at first I couldn't believe it myself but. Blood Mountain may be even better. No, I'm not fucking with you. These 12 new tracks operate on a similar sonic level as their predecessors: Blood Mountain has the same producer, ex-Minus the Bear/current metal tweaker Matt Bayles, and though he obviously spent a lot more time layering substrata this time around, the recording's a lovely shade of dense. Here, Mastodon's songwriting technique is refined, built upon, and doubled up, pushing the ingredients from their last album toward a more complex assault. It lands the band in totally fascinating realms: Leviathan 's post- Remission exploratory impulse picked up and sharpened, with the entire band playing rich polyrhythms at a level that (for now) appears unsurpassable. I've heard shouts that the record's just too precise. Nope. Tech for tech's sake? How? Stranger yet, some have even written that Blood Mountain doesn't have hooks. It certainly does-- especially when those syrupy, psychedelic choruses and bridges feature increasingly stunning vocal performances by Brent Hinds and Troy Sanders, who've further developed as lyricists and howlers. Leviathan left listeners reaching for Moby Dick , on which it was based. Now ditching those literary analogues, Blood Mountain moves from the white whale to the band's Ahab-sized vision-quest up a fabled peak. For it, the band has concocted a conceptual world-- and like any good game of Dungeons and Dragons its journey includes trials, blizzard-condition soul searching, cannibalism, and various beasts, including a half-sasquatch cyclops ("Circle of Cysquatch") and a monster constructed from various smaller, leafy creatures that, together, form a forest ("Colony of Birchmen"). It's a fantastical trek, and it allows the group to remain on an elemental theme-- Remission was fire, Leviathan water, and Blood Mountain is earth-- while glorying in their own Maiden-sized storytelling. Considering all the farting that takes place in the band's Workhorse Chronicles DVD, I'm afraid of what they'll do for wind. Songwise, Mastodon break out of the gate with "The Wolf Is Loose", a showcase of rapid-fire technical skill and songwriting chops. As usual, the guitars jab and interweave, drummer Brann Dailor melts minds with his fills, and the switch between vocalists finds the lyrics jumping from gruff gut-checks ("The belly of the whale/ Refusal of return") to Sabbathian soul ("As the solider walks through the crimson side"). There are more compelling costume changes and time shifts than you can count-- and from there, it never lets up. Starting with Dailor, this time playing 50-gallon drums like an shadowy marching band, the hydra-fed "Crystal Skull" includes a blistering vocal assist from Neurosis' Scott Kelly. "Sleeping Giant" opens elegantly with a gloomy Isis nautical feel, before ripping into another slow psychedelic streak. It's a taut, flaw-free opening triad, and looking beyond it, there isn't a dud in the bunch. Highlights? "Capillarian Crest" is mathy prog-metal that glides unrelentingly between whip-smart crescendos. "Circle of Cysquatch" tackles dark Meshuggah-esque thrashing and includes a bleak vocoder part. Jazz-fucking instrumental "Bladecatcher" layers Drive Like Jehu birdcalls over crunch and classical scale-riding. Guest vocalist Josh Homme adds trills to "Colony of Birchmen"'s dense fun-house mirror, providing the album's catchiest moment. The record's final few tracks are increasingly huge, culminating in the "Siberian Divide", in which our hero eats his own flesh when his mind is fucked by the Snow Queen. The Mars Volta-style intro had me nervous, but it's yet another perfect shapeshift between psych density and metal growl. And props where props are due: Cedric Bixler-Zavala contributes and actually adds an interesting vocal angle. The one misstep? After the last track, following 17 minutes of silence, Homme stumbles over a supposedly self-penned fan letter to the band: "Dear Mastodon, my name is Joshua, I'm a big fan from Southern Cal. Really diggin' on your new scene. That's why I hope you don't mind when I got your new demos for your new CD, I had to sing parts on them and send them to you as a tribute," etc. Dorky, yeah, but giddy enough and easily overlooked. Plan: When you get to the final notes of "Pendulous Skin", press stop and start again. The record's liners contain mountain-climber texts that add a great old school-sized aspect to Blood Mountain , but that trek to the snowy summit could also refer to Mastodon's ascension of the major label monolith. On the way, they may not have literally battled a cyclops or scored the crystal skull (though, guessing they found some okay weed), but they have returned to solid ground with their most awe-inspiring album to date. Please welcome the new monsters of rock. BLOOD MOUNTAIN BEAST MENS TEE. Webstore exclusive! The Blood Mountain Beast tee is a classic design featuring the Blood Mountain album artwork by Mastodon on the front. 100% cotton Preshrunk Screenprint design. If you have received damaged, defective, or incorrectly shipped merchandise, please contact Customer Service and return the product within 30 days of receipt following the Return/Exchange Instructions outlined here. We will gladly replace or refund the merchandise without additional charge upon return. If you have ordered incorrectly or are not happy with your purchase, please follow the Return/Exchange Instructions here. Blood Mountain. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $9.99. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then $14.99/ month. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Doug Hill, Additional Engineer - Scott Kelly, Additional Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Erica Brewer, Violin - Jennifer Ellison, Cello - Nicola Shangrow, Violin - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar - Brann Dailor, Drums - Brent Hinds, Guitar - Troy Sanders, Bass Guitar - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre- Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Alain Moschulski, Additional Engineer - Joshua Homme, Additional Vocals - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar, Backing Vocals - Brann Dailor, Drums, Backing Vocals - Brent Hinds, Guitar, Vocals - Troy Sanders, Bass Guitar, Vocals - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Cedric Bixler-Zavala, Additional Vocals - Jonathon Debaun, Additional Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. Rich Costey, Mixing Engineer - Mastodon, Producer, MainArtist - Pablo Arraya, Assistant Mixing Engineer - Vlado Meller, Mastering Engineer - Mark Santangelo, Assistant Engineer - Bill Kelliher, Guitar - Brann Dailor, Drums - Brent Hinds, Guitar - Troy Sanders, Bass Guitar - Ben Verellen, Assistant Engineer - Chris Common, Drum Technician - Matt Bayles, Producer, Recording Engineer - Jim Keller, Additional Engineer, Assistant Mixing Engineer - Isaiah Ikey Owens, Organ, Synthesizer - Nobody, Additional Engineer - Michael Green, Pre-Production - William Brent Hinds, Writer - Troy Jayson Sanders, Writer - Eric Searle, Pre-Production - Brann Timothy Dailor, Writer - William Breen Kelliher, Writer. 2006 Reprise Records. 2006 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S. About the album. 1 disc(s) - 12 track(s) Total length: 00:50:57. 2006 Reprise Records. 2006 Reprise Records. Why buy on Qobuz. Stream or download your music. Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions. Zero DRM. The downloaded files belong to you, without any usage limit. You can download them as many times as you like. Choose the format best suited for you. Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF. ) depending on your needs. Listen to your purchases on our apps. Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go. Recomposed By Max Richter: Vivaldi, The Four Seasons. Beethoven : 9 Symphonies (1963) Herbert von Karajan. Thick as a Brick. Forged By Neron. Emperor of Sand. Playlists. Highway To Hell. The Alice Cooper story is, first and foremost, an extraordinary tale of “split personality”. Like something straight out of “The Strange Case of Dr Jekyll and Mr Hyde”, singer Vincent Furnier surrendered to the domination of showman Alice Cooper. But by his own admission, the man who always speaks of “Alice” in the third person in interviews remains a simple, completely normal guy in private, far from the stage where he enacts his excesses and provocations. Throughout a career stretching over 50 years, there is an evident streak of schizophrenia in his many stylistic changes. While we credit him with the invention of shock rock, he has ventured into almost every genre with varying degrees of success, from pop to nascent hard rock, with forays into heavy metal, new wave and industrial… As the birthplace of an ever-increasing number of metal groups, Sweden proved their worth internationally in the early 90s when a dynamic crowd of metalheads burst onto the scene. We look back in time to understand how Swedish death metal developed and what made it so original. An often rejected, parodied and misinterpreted sub-genre of metal, the fierce death metal has nevertheless succeeded in garnering a significant following over the decades. Arriving in the 80s, the genre continues to evolve; from its early pursuit of the ultra-violent to its more recent incorporation of aspects from more mainstream genres. Let us look back at the origins of death metal. Blood Mountain (Remastered) Mastodon. due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country. We suggest, that you bookmark the album and use our Short List function. Thank you for your understanding and patience. Yours sincerely, HIGH RES AUDIO. 1 The Wolf Is Loose 03:34 2 Crystal Skull 03:24 3 Sleeping Giant 05:36 4 Capillarian Crest 04:25 5 Circle of Cysquatch 03:19 6 Bladecatcher 03:20 7 Colony of Birchmen 04:19 8 Hunters of the Sky 03:52 9 Hand of Stone 03:30 10 This Mortal Soil 05:00 11 Siberian Divide 05:28 12 Pendulous Skin 05:03 Total Runtime 50:50. Info for Blood Mountain (Remastered) Blood Mountain is the third full-length studio album and major label debut by American heavy metal band Mastodon. Like Mastodon's previous studio work Leviathan, Blood Mountain is a concept album. According to bassist Troy Sanders, "It's about climbing up a mountain and the different things that can happen to you when you're stranded on a mountain, in the woods, and you're lost. You're starving, hallucinating, running into strange creatures. You're being hunted. It's about that whole struggle." Guitarist Bill Kelliher considers this album to represent the earth element. At the time, bassist Troy Sanders called it "sonically the best album we have done." The band's emphasis on clean, melodic vocals instead of the harsher vocals that the band used on their early work continues to grow on this album. The album includes guest appearances by Scott Kelly of Neurosis on "Crystal Skull", Josh Homme of Queens of the Stone Age on "Colony of Birchmen", as well as keyboard player Isaiah "Ikey" Owens and singer Cedric Bixler-Zavala of The Mars Volta on "Pendulous Skin" and "Siberian Divide", respectively. Troy Sanders, bass, vocals Brent Hinds, lead guitar, vocals, rhythm guitar on "Sleeping Giant" Bill Kelliher, rhythm guitar, lead guitar on "Sleeping Giant", backing vocals Brann Dailor, drums, percussion, backing vocals Guest musicians: Scott Kelly, guest vocals and additional lyrics on "Crystal Skull" Josh Homme, guest vocals on "Colony of Birchmen" and hidden message on "Pendulous Skin" Cedric Bixler-Zavala, guest vocals on "Siberian Divide" Isaiah "Ikey" Owens, keyboards on "Pendulous Skin" Recorded December 2005 – April 2006 at Robert Lang Studios, Studio Litho, and EK Studios, Seattle, Washington Produced by Matt Bayles, Mastodon. Label: Reprise. Genre: Rock. Label: Reprise. Genre: Rock. Blood Mountain (Remastered) Label: Reprise, Warner Brothers. Genre: Rock. Cold Dark Place. Label: Reprise, Warner Brothers. Genre: Rock. The Hunter (Remastered) Label: Reprise, Warner Brothers. Genre: Rock. Emperor of Sand. Mastodon are an explosive, unbridled force. Possessing an uncanny song-writing sense, fearless innovation, unparalleled technical ability and a bottomless pool of raw talent and creativity, Mastodon are inarguably one of the most exciting new bands to form in the last 10 years. In order to re-focus and regroup after leaving TODAY IS THE DAY in 1999, drummer Brann Dailor and guitarist Bill Kelliher opted to move back to their hometown of Rochester, New York. There, Dailor and Kelliher united with their former band Lethargy for a swansong show and demo. With the final chapter in Lethargy closed, the musicians moved to Atlanta, Georgia in January 2000 for a new start. Only three weeks after arriving in Atlanta, Dailor and Kelliher met bassist Troy Sanders and guitarist Brent Hines at a High On Fire show that Hinds put on in his basement. Dailor and Kelliher had almost a decade of playing and touring experience together; Sanders and Hines had a half-dozen. Within a few weeks of forming, the quartet's intense songwriting chemistry generated a myriad of hard-hitting songs. These songs merely touched the surface of the outfit's boundless well of ideas. Under the name Mastodon, the group recorded their first demo in June 2000. With a new demo in hand, the band started a tireless tour schedule, covering most of the Eastern US as well as playing numerous regional dates supporting Queens Of The Stone Age, Morbid Angel, Cannibal Corpse and many others. Mastodon's exceptional live performances impressed to such an extent that within months a contract was inked and the band welcomed to the Relapse family. Mastodon's exceptional live performance impressed Relapse to such an extent that within months a contracted was inked, and Mastodon welcomed to the Relapse family. In the spring of 2001, Mastodon once again blazed through the Eastern U.S. with Eyehategod, Keelhaul and Burnt By The Sun. Mastodon blew the doors off every venue along the tour, leaving a whole new contingent of music fans awestruck and hungry for more. Their formidable live reputation helped land them a summer tour again through the East Coast and Midwest, where they linked up with The Fucking Champs. The tour lead them through innumerable festivals (Milwaukee Metalfest, Hellfest, World Series of Metal, and Mid-South Metal Fest) whose attendees witnessed an entirely new form of power and intensity. In August, Mastodon's Relapse debut EP "Lifesblood" hit with adamantine force. "Lifesblood" illustrated the band's incredible technical prowess, memorable hooks, and earthshaking ability to rock that they had been delivering night after night in club after club. Not only did "Lifesblood" put them on the map, it proved once and for all that Mastodon were their own band with a sound and vision that defied categorization. Eager to continue moving forward, Mastodon honed their new material and entered Man Or Astroman?'s Zero Return Studios in Atlanta with producer/engineer Matt Bayles (Isis, Burnt By The Sun, Pearl Jam) in October, 2001 to record their first full-length "Remission". If "Lifesblood" was just the eye-opening introduction, Mastodon certainly awakened the slumbering heavy music scene on "Remission". "Remission" bridges the soulful and technical as herculean yet incisive song-writing is effortlessly fused with an expansive and emotive tenor. Creative, distinct, graceful and strong, Mastodon's "Remission" features the traits of a benchmark release, a standard to which others will be held and ultimately measured by. Rarely is rock so pure and hard-hitting. Songs such as the galloping "March Of The Fire Ants", the beautiful "Ol'e Nessie", "Mother Puncher"'s labyrinthine guitar workout, and the punishing "Workhorse" are nothing short of insta-classics, and the albums remaining seven tracks are not far behind. The quartet dug into their roadwork hard upon the release of "Remission". First a two-month North American Tour supporting High On Fire, followed by strings of dates supporting Hatebreed, Clutch, and Five Pointe O followed. The quartet finished out a busy 2002 with a Japanese Tour with High On Fire and a quick Eastern US run supporting The Dillinger Escape Plan. The Melville's 'Moby Dick'-based new album 'Leviathan', recorded in Robert Lang Studios and Litho Studios in Seattle under the aegis of producer Matt Bayles is scheduled for late August 2004. This album contains no booklet. HighRes-Studio Master files are lossless at various sample rates from 44.1 kHz up to 384 kHz or 1-bit (2.8224 MHz) for DSD.