The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.
And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.
Mastodon with Opeth and Ghost 6:30 p.m. Wednesday Diamond Ballroom 8001 S. Eastern diamondballroom.net 677-9169 $27-$31
Mastodon is great at naming things.
Now touring behind its fifth album, The Hunter, Atlanta’s reigning prog-metal act stomped its way to critical-darling status by virtue of more than just formidable song sorcery. One can feel writers’ glee by reading reviews of the band’s sludgy, heady, unrelenting approach to rock that manifests in album titles like Leviathan and Blood Mountain.
“The four of us have this really bizarre chemistry where the riffs and the thoughts and the ideas, the lyrical process, it’s out there,” said Troy Sanders, bassist and most guttural howler. “It’s bizarre.”
Each new Mastodon disc warrants extensive explanation to the press of its involved themes and twist-filled plots, which Sanders said can be tiresome.
“We get our ideas lined up for the right answers in advance, because we know we’re going to get asked,” he said. “Thankfully, this album is more of [where] each song has its own story.”
Unlike its thematically rigorous predecessors, The Hunter pinballs across a morbid gamut of topics, including backwoods meth heads, bumping uglies in zero gravity and the death of Mastodon’s accountant’s wife. This marks a major departure from its last album, Crack the Skye, which detailed the journey of a paraplegic who astral-traveled his way into the body of Rasputin before running into the devil somewhere in the ether.
The diversity of material can make a crowd tricky to please, but Sanders said Mastodon will do its best to cover its bases when it plays Diamond Ballroom tonight.
“We’re most excited about our most recent material,” he said, “but we also realize that we’ve built up loyal fans over the last 12 years and five albums’ worth of material.”
On Saturday, fans can check out the group’s contribution to Record Store Day: a cover of The Flaming Lips’ “A Spoonful Weighs a Ton,” which occupies the B-side of the Lips’ 7-inch re-release of that Soft Bulletin song.
“It’s dreamy, it’s got the heaviness to it — it just had the characteristics of a song that we felt Mastodon could do a decent job covering,” Sanders said. “We hoped to do a classy and respectful job.”
10 Awesomely Named Mastodon Songs
1. “Aqua Dementia” 2. “Blasteroid” 3. “Curl of the Burl” 4. “The Wolf Is Loose” 5. “Stargasm” 6. “The Octopus Has No Friends” 7. “Bedazzled Fingernails” 8. “I Am Ahab” 9. “Blood and Thunder” 10. “Mother Puncher”