Song: “Innate” Band:Mammoth Location: Los Angeles, California, USA Date of Release: 19th May 2015 Genre: Instrumental Progressive Fusion Reviewer: Thall For Fans Of: Animals As Leaders, Between The Buried And Me, Dream Theater, The Contortionist Why They Aren’t Famous: They should be.
Metal, Jazz, Rock, Blues, Peanut Butter, Jelly, Goku, Vegeta … lots of things can be fused. Mammoth, however, fuck the rules of what can and cannot be fused and have created a tasty, five-act, ten minute long journey titled ‘Innate’. Each movement showcases different compositional conventions which allows this instrumental masterpiece to be a captivating, consistent, and intriguing song which flows one after the other.
Firstly, I’d like to say thank you to the bassist for actually participating in bass activities, rather than just loitering around the tonic notes. Thanks for shredding like you’re about to chop up the four ninja turtles. There were punchy slaps and thundering thuds throughout the composition, but most notably during Act II where the listener is treated with an early Christmas present … that is, a bass solo. Damn son.
The percussion section truly knew its place in this composition too by allowing the melodic gracefulness to shine through, but, if it wasn’t for the consistent transitions and dynamics from the rhythm section, I don’t believe this track would have the justice deserved. The snare was so mystifyingly haunting with the amount of ghost note potential throughout the whole tenure of this track. The diversity found with the cymbals and skins were unique for each act and fit well with the strings sections. The random accentuations and dynamics brought the song so much more attitude, especially during the funky/jazzy parts and most importantly the ability to shut the fuck up and let the guitar and bass stand out must also be commended. Thanks for being a team player.
If this song was an automobile, the percussion and bass would be the basic fundamentals of the car: the brake, clutch, acceleration pedals, the gearbox and steering wheel; it gets you from A –> B, and that’s okay. The guitar parts, however, made the driving experience turn from a 1965 Yugo Koral to a 2015 Pagani Huayra. The embellishment of all the different techniques and styles throughout the track amalgamated all the acts together as one. The guitars provided the aux-cord, the cup-holder, the back-seat TV screens, the reverse camera and sensors … it goes on and on. From the tapping, to the gracious legato runs and sweeps at the end – it is truly a musicians car to drive. The fourth and fifth acts can be compared to driving in fourth and fifth gear. No, it does not go faster but the power and ability of the driving force reaches at its full potential. A beautiful chord progression and a crescendo from the drums turns the finale of the song into the final stretch with the chequered flag ready to be waved. The beautiful solo filled with sweeps, pinch-harmonics and palm muting repeated as a fixed idea is the perfect way to end a track with a fade-out. It’s Killswitch Engage tier.
The production felt very hearty and home-made, like when you eat one of your grandmother’s traditional dishes and you know that it just can’t be the same anywhere else. This had the same features as many organic production styles but this had quite a unique, favourable liking towards it. Like a secret recipe; an acquired taste that only a few may love but most will respect. I respect it and like it but I don’t absolutely froth over it for more. I think with bands such as Animals As Leaders, Polyphia, and Plini leading the pack with superb, pristine, crystal-clear mixes – I really hope that Mammoth can become part of that tier in the future.
Prehistorically appropriate and compositionally, I found Mammoth to be quite similar to Mastodon, as they utilised maximum capacity to showcase their instruments and did not overly focus on programmed instruments or any flamboyant MIDI loop, ambience or atmosphere. Most of it was the craftsmanship from the trio and boy oh boy, was it a success. I absolutely adored the songwriting transitions from style to style and I was not bored once, something that I find common in some of the instrumental bands we have reviewed before.
Overall, ‘Innate’ by Mammoth is a sublime track that I strongly suggest listening to. A wide range of listeners would appreciate the certain styles represented in this track and it’s easily to get attached to certain acts over others (my personal favourites being II and V) but there is absolutely no way in any circle of hell do I allow a listener NOT to listen as a whole. Get amongst it and feel the progression.
forgive english, i am Serbia. i come to study clothing and fashion at Australian university. i am here little time and i am very hard stress. i am gay also and this very difficult for me, i am very religion person. i never act to be gay with other men before. but after i am in Australia 6 weeks i am my friend together he is gay also. He was show me Australian fashion and then we are kiss. We sex together. I never before now am tell my mother about gay because i am very shame. As i fock this Australian boy it is very good to me but also i am feel so guilty. I feel extreme guilty as I begin orgasm. I feel so guilty that I pick up my telephone and call Mother in Serbia. I awaken her. It too late for stopping so I am cumming sex. I am very upset and guilty and crying, so I yell her, "I AM CUM FROM SEX" (in Serbia). She say what? I say "I AM CUM FROM SEX" and she say you boy, do not marry Australian girl, and I say "NO I AM CUM FROM SEX WITH MAN, I AM IN ASS, I CUM IN ASS" and my mother very angry me. She not get scared though. I hang up phone and am very embarrass. My friend also he is very embarrass. I am guilt and feel very stupid. I wonder, why do I gay with man? But I continue because when it spurt it feel very good in Australian ass.