Twenty years of Ashes of the Wake and Leviathan

Deciding when an album becomes a "classic" is a tall order. With so many factors to consider, it's a wonder that any consensus is ever found. However, in the case of these two albums that were released on the same day 20 years ago, regardless of the criteria, they are both bona fide classic metal records. Ashes of the Wake by RVA's Lamb of God and Leviathan by Atlanta’s prog sludge masters Mastodon have entered legendary status as albums that shaped the new millennium’s direction and launched these two bands into the forefront of the heavy music scene. Today we're going to talk about these records, their legacy, the mighty Ashes of Leviathan tour, and more. Let's get started.

Lamb of God - Ashes of the Wake

Released August 31, 2004 - Epic Records

Few records fully encapsulate a band's identity as well as Lamb of God's Ashes of the Wake.. After making music together as a unit for close to a decade as both Burn the Priest and Lamb of God, this set of musicians put together a record that would go on to define their sound in some ways and solidify them as a top American metal act. Let’s reach back into our collective memory from 20 years ago and remember that the "new wave of American heavy metal" was all the rage with bands like Shadows Fall, Killswitch Engage, Unearth, and more growing in popularity and influence. While there are still plenty of active bands from that movement—for lack of a better term—Lamb of God managed to transcend the trends and movements of the time by taking a different musical and lyrical approach.

If there is one thing that we know about Randy Blythe, it's that he’s far more of a hardcore kid than a metalhead, and while this is more than likely the case in a lot of bands, the way that these two ideas collide within Lamb of God is vastly different than many of their peers at the time. While metalcore was definitely a thing then and now, the approach that LoG takes is a little simpler than trying to musically emulsify the two. There's genuine pain, personality, and perseverance within the lyrics of Ashes of the Wake. From the very start with "Laid to Rest," there’s a sense of righteous finger-pointing and self-assertion along with a lot of "who gives a FUCK?" to go along with it. 

In a time where a lot of the metal stalwarts of the past were seeking relevance in interesting ways—the rise of metalcore, the influence of nu metal—it was, at the very least, a time of transition in this corner of heavy music. Lamb of God, however, weren’t being influenced by the trends that were circling them at the time and poured their sweat and blood into a record that was completely gimmick-free, uncompromising, and with very clear messages. This is a band that has always been outspoken about social issues and political issues, and that bleeds through on Ashes of the Wake, just as on the records before, and that ire makes its presence known from the jump with "Hourglass."

Of course, Lamb of God are skilled enough songwriters to inject enough metaphor and abstraction to allow for these songs to be read in a variety of ways. But if you take the time to read the lyrics as they lie on the page, this is a strongly worded and strongly delivered letter of detest toward America’s involvement in wars that were simply for profit, damaging and ending the lives of bystanders. But of course we as the listeners find ways to connect with songs on a more personal level. The ire and vitriol being spat at those who should be held accountable for their actions is something that we all feel in a visceral way, through both empathy and our own experiences.

What makes this all stick around, however, is how those lyrics and ideas are communicated. Lamb of God have always lived in a place sonically that’s sometimes easy to dismiss as "groove metal," and while that’s not a bad description, there’s a little more to it. The hardcore influences surface on occasion with the breakdowns and how they can just ride grooves for what feels like minutes at a time and it feels fresh in spite of that. On Ashes of the Wake, there aren't a lot of flashy ideas, progressive turns etc. but what is present is pure, authentic, and very much on brand for this band. One could even say that this album became the blueprint for how they would approach things going forward. Regardless, *Ashes of the Wake* is filled with amazing sonic moments, blistering riffs, and when the solos appear - as they do on the title track - they’re something special. The thundering drums, chunky bass tones, and the icy vocals give us something to connect with.

I had the privilege to attend the Ashes of Leviathan tour through the US this Summer and to see how strong these connections still were with fans. The Red Hat Amphitheater in Raleigh, NC was at capacity, the sun had set, and it was a perfect evening to revisit this classic record with the band that created it. The crowd was rabid, fiending for the band to come on stage and rip through "Omerta", "Laid to Rest" and more and well, the band simply didn’t disappoint. Every song hit. The pyrotechnics were in full display as we Randy’s signature stage moves, jumps, and calling us “motherfuckers” in the most paternal and endearing way.

After tearing through the entirety of Ashes of the Wake, we were treated to a couple of songs from Sacrament that you may remember: "Walk With Me in Hell", and the live set staple, "Redneck." It was a hell of a set and amazing performances from the band and to see how hard this material still hit after two decades was a highlight of this year for me. *Ashes of the Wake* is and shall remain one of the greatest American metal records of all time with its potent messaging, incredible production, amazing performances, and its ability to transcend. 

Mastodon - Leviathan

Released August 31, 2004 - Relapse Records

One of the things that sets metal apart from a variety of genres is just how much freedom there is to express an idea through some wildly left-field metaphors. In the case of Mastodon, they took their own chase for relevance and ported that into the tale of Captain Ahab and the white whale that he was so famously driven to apprehend. While concept albums are by no means scarce in the metal scene, this is one of the ones that has stuck around for a reason.

From the iconic opening riff of "Blood and Thunder," this album is a swirling, churning storm of a record that doesn’t let up in the slightest from bloody start to thunderous finish. There are so many things that we could praise on this record since there are so many facets to explore but what would a retrospective be without a little exploration? Bassist Troy Sanders gets teeth into every line sung and guitarist Brent Hinds’ signature, Godzilla-like scream adds depth to the lyrics that are being screeched over some of the finest drumming in metal, courtesy of Brann Dailor. And when it comes to being memorable, Brent and Bill Kelliher are one of the mightiest riff power couples in all of heavy music.

While the first few tracks on Leviathan feel familiar to fans of Remission, the quieter moments of Leviathan begin taking shape on songs like "Seabeast." The vocal lines that slur and slide in and out of the clever leads and shapes on this song are flashes of what Mastodon would eventually become. This song, in my opinion, is a quintessential Mastodon track that encapsulates so much of what makes Mastodon a special band and Leviathan such a classic album. One of the things that make a great progressive metal record, or in this case progressive sludge, is on occasion allowing some of the influences to bubble up to the surface. One of the coolest moments on *Leviathan* is around halfway through "Megalodon" when Brent Hinds’ Southern roots show up in a major key country guitar lick in a moment of panicked surfacing, before the crushing waves of the song push it back down.

The narrative and meta-narrative that unfolds on Leviathan are also two really large pieces of what makes this record work so damn well. Just when you think that the album is straying a little too close to the edge of what is holding it all together, it pulls you back in like a riptide. They never stick so close to the concept that it feels clinical, there’s room for interpretation, room to take a breath. Just when you think that the record is going off the map, it reveals that all of this misdirection was really just the scenic route. The transitions in tone and texture in the closing three tracks, "Aqua Dementia", "Hearts Alive", and "Joseph Merrick" is borderline whiplash in the best way possible. From the angular and somewhat rickety riffs to a deep and immersive progressive metal jam that takes up close to 14 minutes, to the somber and reflective instrumental closer, it’s just fantastic.

For the past 20 years, this album has entertained, mesmerized, and impressed damn near everyone that has listened to it. Its influence on the band and the space in which they operate is at this point immeasurable. Seeing this album played from front to back at the Ashes of Leviathan tour was a thing of beauty. I have seen Mastodon live many times but this was a special set, a special evening, and the band put forth an effort worthy of such an occasion. The large screens behind the band were playing clips of the classic Moby Dick film staring Gregory Peck, sharks, squids, storms, and more all while fire erupted across the stage. It was a thing of beauty and a night that none of us in attendance shall not soon forget. 

The fact that both Leviathan and Ashes of the Wake released on the same day, 20 years ago is something that I’ve had trouble wrapping my brain around. Two stalwart American metal records that we’re still raving about 20 years later dropped on the same day and that makes me wonder how many other times this happened. Maybe I’ll explore that one day. For now, the Ashes of Leviathan tour and these two records deserve the love and praise heaped upon them and I think we’ll be talking about them for another 20 years and more. See you all at the 30th anniversary tour.

Special thanks to SpeakEasy PR for access to the Ashes of Leviathan Tour and for providing press photos.