Mastodon

In a new interview with The Downbeat Podcast, hosted by STRAY FROM THE PATH drummer Craig Reynolds, MASTODON drummer/vocalist Brann Dailor spoke about the lyrical inspiration for the band's latest album, "Marrow Deep", which arrived in August, roughly a year after the death of founding MASTODON guit...

Mastodon vinyl album containing actual mastodon fossil is limited to just 170 copies – for obvious reasons

Mastodon have announced a limited vinyl edition of their latest album, Marrow Deep, featuring actual fossilized mastodon teeth ground into dust and incorporated into the pressing.Limited to 170 copies, the special e...

Only 170 copies are being made.

Atlanta progressive metallers MASTODON have just unveiled what may go down as one of the most distinctive vinyl variants in the history of the medium — a pressing of their acclaimed new album, "Marrow Deep", that contains actual fossilized mastodon teeth that have been ground into dust. The band was...

The comedian/musician wouldn’t turn down the chance to collaborate with Opeth, either

To the late Brent Hinds, Bon Scott was a character, a lifestyle, a cautionary tale, a hero and more, all rolled into one

The new book, Motorcycle Life, by longtime Revolver contributor Eric Hendrikx, brings together 107 riders in a global portrait of motorcycle culture. It features a forward by the The Walking Dead’s Norman Reedus and interviews with Keanu Reeves, Jason Momoa, Tommy Flanagan, Slipknot’s Jim Root, and others — including late Mastodon guitarist and vocalist Brent Hinds. The book features his final, bittersweet interview, which we’ve excerpted below. Motorcycle Life, published by Artisan Books, is out September 29th, 2026, wherever books are sold. Brent Hinds was one in a trillion — a wild-eyed guitar sorcerer, cofounder of the Grammy-winning heavy-metal band Mastodon, and a lifer in musical projects like Fiend Without a Face and West End Motel. But before all that, he was just a fearless Alabama kid ripping dirt bikes and launching off homemade ramps. Later in life, he toured the world, appeared on Ride with Norman Reedus, and built his dream chopper. Hinds lived for motorcycles with the same fire he brought to music — raw, loud, and unapologetically real. He was the kind of artist who didn’t just play — he felt everything, and you felt it too. People admired him for that authenticity, myself included. We spoke just weeks before he died in a motorcycle accident. This was his final interview. Ride in peace, Brent. You were the real deal. Jerimiah Smith What was your earliest experience with riding motorcycles?Steering a bike from the gas tank, man. I was so young, probably still in diapers. My dad had this 1965 Triumph Tiger 650 he used to take me for rides on. I could barely reach the handlebars from the tank, but l’d twist that throttle and feel the motor roar like a god. What was your first motorcycle?When I was three or four, my dad got my brother and me an Indian MM5A 50cc—they called it the Mini Bambino — and that thing was a damn rascal. We had a lot of property in Helena, Alabama — great for riding trails, building jumps, and racing. You and your brother did some racing?If I could say one thing about the way my parents raised me and my brother, it’s that they let us ride motorcycles. By the time I was around nine or 10, and my brother was 12, we were racing motocross. It all ended the day he hit a rock in a mud puddle, flew off his bike into a tree, and broke his pelvis. He was in a fucking body cast for a month. After that, we’d ride out to the country gas station, buy cigarillos, then head to my grandmother’s house to steal my dead granddad’s Playboy magazines. We’d take them to our fort, light up Swisher Sweets, and hang out looking at naked chicks. What motorcycles do you currently own?I have a 1965 Triumph Tiger 650 — the same year and model my dad used to ride with me on the tank. I’ve also got a military bike — straight out of the National Defense Department. And my ride-or-die motorcycle is a 2004 Harley-Davidson Road King — I just did a trip to Virginia Beach and back on it with about 17 other guys. I was probably the only guy that didn’t have to stop and fix my bike — the rest of them were on old Panheads and Knuckleheads. Then there’s my “Green Machine,” a full custom chopper — 98 bore, lightweight frame, spoke wheels, Baker six-speed, Laffy Taffy-green paint with gold leaf flames. It hops curbs, shakes bolts loose, and pisses off neighbors. I love it. That bike fucks — meaning, it’s everything I ever wanted in a motorcycle. But I recently came out of a wheelie and hit a car. Didn’t have time to steer. Bike snapped in two. I took the brunt of the impact — flew over the car like Superman and skidded across the street. I got a gnarly gash from it on my chest. But I’m rebuilding the bike. As it is written. What does riding give you that nothing else can?The breeze on my knees, brother. Riding takes something from me and gives something to me. Sex might come close, maybe. I’ve ridden through pain, loss, wrecks, and bullshit — but the breeze never lied to me. That’s church. That’s therapy. You’ll never meet a motherfucker like me that don’t give less of a shit about anything other than that breeze. You’ve toured the world with Mastodon. Did you ride during your travels?Hell yeah. I was the only guy in Mastodon who rode. I’d be like, “Dudes, let’s rent bikes,” and they’d be like, “What?” So, I went solo. Israel, New Zealand, Hawai’i, the Black Sea — you name it. I’ve never been to a country without renting a motorcycle. Music is my profession. Riding is my religion. Jerimiah_Smith You were a guest on Ride with Norman Reedus. What was that like?I love Norman — I consider him my biker brother. We’ve had some great times riding and getting tattoos together — we both got Lemmy tattoos after Lemmy Kilmister from Motörhead died. What’s your most memorable motorcycle ride?My favorite was probably when I rode all day in Hawai’i with our Mastodon crew — tour manager and sound guys. They don’t have a helmet law either, so we were just out there exposed all fucking day. We got scorched — 12 hours, no sunscreen. So stupid. I’ll never forget that day. What’s the best part about the biker community?If you see anyone pushing a bike, what do you do? You pull over, and you help. You don’t know them, but you will. That’s what biker culture is — instant loyalty. Acceptance. Doesn’t matter if you’re a doctor, janitor, or rock star. Might not speak your language, but you’ll remember them for the rest of your life. That’s not just culture — that’s code. And man, it’s way different in music — people get fanatical. They always want something from you — photos, autographs, attention. They pester the shit out of you. Not in motorcycling — everyone’s on the same level. It doesn’t matter who you are. Like, sure, I think it would’ve been cool to meet Sonny Barger or Indian Larry — but they were just bikers. I wouldn’t chase them down or harass them. That’s not what riding’s about. We nod. We roll on. You must have ridden most of the iconic roads across America.Fuck all these named roads — the Cherohala Skyway, the Dragon’s Tail. Anywhere with a nickname is a death trap because everyone’s out there trying to perform. I want to ride where no one’s watching. Give me an empty road, some bad pavement, a chopper that might not make it, and I’m happy. Do you have a bucket-list ride in mind?There ain’t a place on this earth — or any other — that I don’t want to ride. But Japan is calling to me. I want to ride with those cool Japanese motherfuckers on their badass bikes. They’ve taken our motorcycle culture and made their own, and it’s beautiful. What’s the greatest life lesson motorcycles have taught you?Find what you love in life — what makes your heart sing — and never let it go. People think music is my life, but music’s my profession — it’s not my hobby. I ride motorcycles because I love it. It’s the only time I feel fully like myself. I don’t ride to look cool. I don’t ride for Instagram. I ride because it saves me. You want to understand who l am? Watch me on a bike. That’s the real Brent. Everything else is just noise.

2011 follow-up to Crack The Skye was a non-concept change of direction with more melody and less complexity, carrying a message of apology to their loved ones

Yaşadıkları en büyük trajedinin ardından, uzun zamandır yaptıkları en iyi albümle karşımızdalar.

The estate of former Mastodon guitarist Brent Hinds has issued a new statement following Mastodon's own reaction to the estate's lawsuit against them.News of the lawsuit emerged earlier this month, just two weeks af...

The estate of the late guitarist attempts to add context to the reasoning behind their lawsuit against the band.

Louder Than Life got incredibly loud indeed over the weekend, despite show organizers in Louisville, Kentucky, having to pause the four-day music fest at times due to the extreme weather. The real storms raged across the event’s seven stages, where nearly 200 bands rocked the Kentucky Exposition Center between September 17th-20th— from mainstage headliners like Iron Maiden, My Chemical Romance, Limp Bizkit and TOOL, to the rising crop of heavy acts that kicked things off on the smaller stages. Amps were cranked, the pyro was in full force, and memories were made for everyone in attendance. Photographers Lexie Alley, Austin Cooper, Steve Thrasher, Dan Virchow and Nathan Zucker were all there to capture some of the finest moments at this year’s Louder Than Life festival — check out an array of their standout shots below. TOOL Steve Thrasher Mastodon Nathan Zucker Black Veil Brides Lexie Alley Danny Elfman Steve Thrasher Killswitch Engage Lexie Alley The Pretty Wild Austin Cooper Tom Morello Steve Thrasher Bilmuri Steve Thrasher My Chemical Romance Steve Thrasher Halestorm Lexie Alley Coheed and Cambria Steve Thrasher BABYMETAL Steve Thrasher Dethklok Steve Thrasher Ministry Nathan Zucker Black Label Society Steve Thrasher Alexisonfire Lexie Alley In This Moment Lexie Alley Ice Nine Kills Steve Thrasher Kami Kehoe Lexie Alley Pantera Steve Thrasher Kublai Khan TX Austin Cooper Danzig Nathan Zucker From Ashers to New Lexie Alley Iron Maiden Steve Thrasher Mac Sabbath Steve Thrasher Machine Head Nathan Zucker Starset Lexie Alley Suicidal Tendencies Steve Thrasher Underoath Lexie Alley The Warning Lexie Alley

The estate of the late former MASTODON member Brent Hinds has issued a statement clarifying its claim that the guitarist is still owed money for his share in the group. On September 3, the estate filed in Fulton County Court claiming that Brent had never been bought out of his share of MASTODON and...

This follows the band's own public statement on the legal dispute.

Mastodon have risen above tragedy with new album Marrow Deep

“Obviously none of us want the album to be about what it’s about, but it is.” Mastodon drummer-vocalist Brann Dailor is reflecting on the extremely challenging past couple of years he faced with his bandmates, and how a series of traumatic events inevitably impacted the group’s newly released, super-personal and incredibly inspired ninth album, Marrow Deep. It’s a collection that directly contemplates the departure and death of founding guitarist Brent Hinds, as well as the passing of Dailor’s mother, plus the struggles bassist-vocalist Troy Sanders went through when he and his family were displaced from their home after it was seriously damaged during Hurricane Helene. Times have been tough, to say the least. And they knew it. It was practically all they could think about — Sanders says he was working through “brain mush” on a daily basis while “time-traveling” through various thoughts and memories. The best way to work through the chaos and confusion, they found, was to channel it back into their music. “Even if it wasn’t a conscious decision, subconsciously it’s all coming out, because it was affecting every waking moment of our existence,” Sanders confirms. “It wasn’t just a little issue that could be covered with a band-aid, it was very deep, very heavy, very sad, very challenging, and surrounded with uncertainty. Nothing too fun.” Mastodon had spent the past few years working on song ideas. Just a few days after Hinds died in a motorcycle accident, they moved into the band’s West End Sound recording studio in Atlanta, Georgia, to start cutting the album. While Hinds had been estranged from Mastodon since leaving the band earlier that year, they felt his presence in the studio. That spiritual connection is the thematic drive behind “Your Ghost Again,” while the ups and downs of their relationship are hinted at throughout the LP. “In the Ruins” has Sanders singing about the effects of the hurricane (“The shelled house where you grew is now gone”). Various songs contemplate death, loss and regret, but they managed to begin a communal catharsis through making new music together. “I was sick of feeling like shit,” Dailor says. “If I would ever get frustrated as a kid, and my mom could see that I was upset about anything, she’d be like, ‘Go play your drums, honey.’ So, I could hear her in the back of my head telling me, ‘Just go play your drums and you’ll feel better.’ It really helped to dig in with everybody. “Every day I started to feel incrementally better,” he continues. “[Making music] is better than rotting in bed, obviously, but some days I just wanted to crawl underneath the house and stay there for a while.” Katja Ogrin/Getty Images Dailor, Kelliher and Sanders reiterate to Revolver that Marrow Deep isn’t just doom and gloom — tonally, this is reflected in the progressive prettiness of the semi-acoustic “Moth and Bone”. They also point to having experienced milestone moments of joy in recent times, like playing Black Sabbath’s “Back to the Beginning” farewell show in Birmingham, UK. That connection helped bring Sabbath member Geezer Butler onto Marrow Deep’s “The Vanishing” for a guest bass line. The new album also encircles Mastodon with guest spots from longtime friends in Queens of the Stone Age, Lamb of God, Gojira, Converge and Clutch. Not for nothing, Dailor got married, too. While Mastodon’s surviving founders relied on each other to work through the pain, they also point to new full-time collaborators Nick Johnston (guitar) and João Nogueira (keyboards) — “a couple of golden retrievers in the practice space” — as becoming great friends and trusted collaborators in the process. Just ahead of launching their “Poisonous Weapons” North American tour this week, Dailor, Kelliher and Sanders answered the fans’ burning questions on everything from their hardest songs, to their musical heroes, to where they’d be if they weren’t full-time headbangers. Now that Mastodon has stepped into this new era as this five-piece, what is a specific track or moment on Marrow Deep where you sat back in the control room and realized, “This is a completely new frontier for us, musically”? — Alec Stiefmaier-MartinBrann Dailor I’d say, the whole beginning section of “They’re Coming for You,” which is something that Nick Johnston and Joao composed. Mainly Nick, on his own. He sent it over to us, and we were all blown away by it. It was pretty awesome, because we had the majority of the music already written for the album, going into [the recordings]. We just had those guys come in and do a lot of finishing touches — adding bits and pieces here and there where we thought that the song could use a unique moment. Then Nick just created on his own, at his house, and sent it over. He said, “What do you guys think about this?” And it was this whole amazing proggy odyssey that let us know, “Wow, not only can he play all the stuff that’s already put in place, but he has quite the amazing imagination, himself.” Troy Sanders For me, it was the whole back-half of a song called “The Three Fates” that closes the record. Nick and Joao were sitting on the floor, and Brann, Bill and I were on this little couch in the control room that’s got enough room for three butts. Nick had his acoustic, and Joao had his small travel-sized keyboard. They had an idea how to carry this whole bridge section. They were sitting on the floor going back and forth, super engaged. And I literally looked to my right and saw Bill’s face, and to the left and saw Brann’s face, and without saying a word, I realized deep within that this was beautiful. It was magical. When I listen to that song, it doesn’t feel like an album closer — it almost feels like the end of chapter one, and chapter two’s coming very soon. I literally felt like, Holy shit, this energy and this teamwork is now fully spread amongst five grown men and friends. It was fucking beautiful. Bill Kelliher Honestly, every song had that kind of moment for me. I just had to grin, ear-to-ear. With the loss of an original member, the writing process has obviously changed. Did you ever find yourselves writing parts that “sound like Brent would write” so you can maintain the “Mastodon sound”? Or is it more of a “see what happens with the new members”-type thing? — Andrew Cody HollisDailor I think throughout 25 years of all playing together, we all rubbed off on each other. There’s no way around emulating that sound that we’re used to — the things that we naturally gravitate toward. There’s no way that, moving forward, Brent’s presence wouldn’t be felt. His DNA is completely wrapped up in what Mastodon is right now, and what Mastodon will always be and represent. A big part of the sound of Mastodon is very much so due to Brent’s style. We spent so much time together writing and recording music. With the push and pull of that… it’s not something that you do on purpose, really. It’s not like, “Oh, we need to find out what Brent sounded like playing guitar,” and try to copy that. That’s not any kind of conversation that would ever happen. Sanders No, there was no collective decision or discussion on how to incorporate some sounds or stylings of Brent’s on purpose. That stems from the fact that the three of us here — and Joao and Nick — are very collaborative. We’re gonna write Mastodon music. Bill writes a ton of music. Brann writes a ton. Brann writes a lot of lyrics and sings a lot. I write a lot of lyrics. I sing a lot. It’s still gonna be a very Mastodon sound, even if it was just the core three writing the album. Kelliher Our sound is baked in now, and we all learn from each other. Brent’s contribution to our sound is just the dynamics, the way that we all write and play when we put the Mastodon hat on and we start writing. It was the four of us writing and playing together, and it’s just gonna continue. But each record is a little left of center. We keep evolving in different ways. And if Brent were alive and still in the band, this record would sound different. But it would still be Mastodon. Love that Geezer Butler, Randy Blythe and Joe Duplantier are guests on Marrow Deep. In terms of ultimate dream guests, who would be your No. 1 pick and why? — Missy FocceliKelliher We wanted to Dolly Parton, but she just passed away, unfortunately. Sanders For me, it would be anyone in Metallica, because that was the first band that got me into playing bass — and that’s how I learned how to play bass, if you will. We’ve befriended them and have opened for them many times, but I don’t know if Metallica does [guest spots]. What about Iron Maiden? They ever guest on anyone’s records? Dailor I would like to get Eddie to contribute something. Sanders He could just walk around. Dailor He likes to tickle Janick [Gers, Maiden guitarist] a lot onstage. Maybe he can mess your hair up for you, Troy. Sanders That would be amazing. Kelliher Eddie, if you’re out there, reach out. [Laughs] Sanders Just come onstage or meet us in the studio. Put off your aura and let us be inspired. Dailor If we could get somebody like Peter Gabriel to sing something, he’s one of my all-time favorite artists. I would even let Stevie Wonder play harmonica on something if he wanted to. The harmonica’s not my favorite instrument by a mile, but when I hear Stevie Wonder play, it sounds good to me. Or he can sing — whatever he wants to do. We would leave it up to him how he wants to contribute. And if we could get Bjork to do something, that would be really cool. But getting Geezer Butler [for Marrow Deep’s “The Vanishing”], that’s the most amazing thing ever. He’s one of the forefathers of heavy metal that gave us this artistic space to exist in the first place. To have him playing on our record is mind-blowing to all of us, and we’re extremely grateful. I mean, he could have literally just hit an open E… but he gave us something really amazing and powerful and cool. As soon as you hear the first note, you’re like, Damn, that’s Geezer Butler! As far as wish lists are concerned, I feel like I can die happy because Geezer Butler’s on our album. Katja Ogrin/Getty Images You’ve been a band for 25 years now. What’s one opinion you had in your twenties about music or success or the industry that you’ve completely changed your mind about? — BaldurKelliher Growing up in Rochester, New York, I played in many, many bands — and Brann and I played in a band called Lethargy. Well, I thought that you’d just play at your local bar or hangout spot until Warner Bros. Records comes knocking on your door with a contract and a million dollars. Like, I was that naive about the record industry. I had no idea how things worked. Like, “Here’s some money. Now you’ve got a nice house. Buy some nice equipment, and let’s start making records.” It’s the complete opposite of that. You have to find them. Dailor “Oh, dude, you play math metal? Holy shit, that’s a booming industry right there.” [Laughs] Kelliher “Yeah, that’s exactly the category we’re about to add to Grammys. You’re way ahead of your time.” Sanders I’m not sure if it’s an opinion, but something I’ve learned is that success, at least in Mastodon’s world, isn’t determined by… opportunity. If you’re an up-and-coming band and someone gives you a break and puts you out on the road opening a few shows for Iron Maiden or Metallica, that’s a great opportunity, but you still have to back it with your work ethic. And don’t forget about the songs. The music has to be there, along with the work ethic. Our first big break was supporting Slayer and Slipknot in arenas, and the stages themselves were bigger than all the clubs that we’d ever played in the previous four years of our existence. That was an opportunity, but that didn’t mean automatic success. We had to continue to ramp up the energy and the work ethic, and continue to strive for [success]. I guess to sum it up, a single massive opportunity isn’t a true definition of success — unless you’re just trying to do one cool thing in your life and then quit music. Katja Ogrin/Getty Images Has anyone ever brought in a riff or song idea that everyone else immediately hated… but eventually became a favorite? If so, which one? — Oliver McBrideDailor If everyone hated it, chances are it doesn’t make it through. That’s the first kind of litmus test for any riff. If everyone’s like, “Ugh,” then that thing goes on the scrap pile, never to be seen again. But I don’t know… I guess I didn’t care for “Show Yourself” at first. Troy really liked it. I think I was the odd man out on that, and I was trying to avoid it for as long as possible until one day, over at Bill’s basement, I went in started singing some stuff over it. Then I started to see that it was super catchy and cool — like a splashy puddle of a song that we needed in the depths of Emperor of Sand, because [the album was] dark and gloomy and heavy. It made sense in the context of the album, and it was a big song for us, Sanders Hate is a strong word. There’s been some ideas where there’s been some disconnect, or maybe some initial dislike — like, “That doesn’t touch me” — but [that’s when] you’re hearing it as a simple guitar riff. If it’s a simple bass riff, then it’s even more lost [in translation]. Like, “What is that?” But if someone else in the band is like, “I can hear some potential there,” we give it a little time and effort. We start digging in, and then it often grows into something that we all appreciate. It just needs that extra element — a vocal idea, or a cool drum beat to give some energy to the idea. Dailor You gotta give everything its due process, especially if somebody’s really adamant about it. We all trust each other… and we all got together for a reason, you know what I mean? We have the same core footing, as far as musical taste is concerned. You don’t want to be disrespectful to somebody that you love and are friends with. And I’ve just never had that strong of a reaction, feeling-wise, towards a musical part that somebody wrote. Kelliher I learned a long time ago not to judge any riffs or songs until all the parts are there — and until the vocals are on top, especially. When we were recording [Crack the Skye’s] “Oblivion,” I didn’t love it. I thought it was cool, but it seemed stock. It didn’t really move as much as I wanted to. But then when I heard Brann’s vocals and Brent’s vocals and Troy’s vocals, it completely changed direction for me. I was like, “Wow, man, this is great!” I’m never gonna judge riffs again, because that’s just one facet of the entire song. It’s like you’re cooking a soup on the stove. You can’t just have the chicken broth in there as the only ingredient and go, “This doesn’t taste like tomato soup, what the fuck?! Let’s throw it away.” You add all the ingredients — maybe a little more salt and pepper here and there — and then you try it. That’s why we riff out and write so much, so that we have a lot to choose from. And we see which songs rise to the top, so to speak, when we’re in the studio. What’s the song you’re most likely to fuck up live? — Panos AssimakopoulosSanders We don’t fuck up live. Kelliher [Blood Mountain’s] “Capillarian Crest,” maybe? But I think we’ve managed to do pretty well. We haven’t had too many train wrecks, but there are a few songs where if you get off track on it’s gonna be crash and burn. Dailor We train-wrecked “Hail to Fire” in London. I think it was the show with Slipknot, Slayer and Hatebreed. We played for 20 minutes. I was the last one playing… everyone just dropped out. Kelliher That’s not a hard song. Dailor Then Troy just said “Thanks so much, everybody! This is ‘March of the Fire Ants,’ goodnight!” We just went into the next song. So, Troy saved the day. I don’t think anyone noticed, you know? The sound was really bad. It probably sounded like a cacophony, like throwing a refrigerator down the stairs. But being the consummate professionals that we are, we practice really, really hard before you see the show, so that that doesn’t happen. Kelliher For me, I have to separate my brain from my fingers on a lot of that tricky stuff. There are fast, tricky, technical parts in “Crystal Skull.” I’ve always managed to play the bridge pretty much perfectly, but if I miss a note one night, I make a mental note backstage to go over that part. A lot of times I forget to do that. So, while we’re playing, I’m like, Shit, I forgot to go over that backstage! That’s not a good time to start rethinking things, when there’s 25,000 people out there all looking at you and rocking out. Now you’re trying to do some math in your head while you’re playing. So, I have to stare at someone in the crowd and be like, Oh, I wonder what that person’s deal is? What did they have for breakfast? Where do they work? Just to completely disengage [my head] from my hand. That’s the trick. That’s the zone you have to be in to separate your mind form your body. Dailor Note to audience members the next time you see us play, and we’re playing “Crystal Skull,” and it gets to the bridge section: If Bill is staring at you, he’s thinking about what you had for breakfast. So, tell him, telepathically, that it was Corn Flakes. Brent was obviously one-of-a-kind musically and personality-wise. What’s the first story that comes to mind that always makes you crack up? — Will InouDailor There’s so many. I remember we were playing with Clutch in Lawrence, Kansas, at the Bottleneck. This was back in the van days, and it was the very end of the night, and we were just about to get paid. Clutch’s tour manager, Oscar [Hernandez], was getting paid, and I could see he had an envelope for us. So, they were, like, shooting the shit [with the venue staff], and I’m standing behind Oscar. Then in comes Brent — he’s got his shirt off, and he’s dragging this huge tree. It was like a new tree that had been planted out front of the club, and he just comes in through the front door, and he’s running all around the club. I was like, “Get the fuck outta here! I’m trying to get paid, dude! They’re not gonna pay us if you drag this tree in here,” you know? We can laugh about it now. He went through a whole phase back then where he was doing that a lot. I remember being at a bar here in Atlanta, and in comes Brent with [another] tree. Like, “What is your deal right now with bringing trees into bars?” It was just a phase, luckily, it didn’t last that long. I think he secretly wanted to be an arborist. If you weren’t in a band, what would you be doing for work? — victormbarreaokKelliher I’ll be cooking quesadillas. [ed. Bill is in fact making a quesadilla in his kitchen during at this point in the call] Sanders Postman. I like to drive. I’m a fan of the outdoors, so I would walk to the mailbox, walk to the stairs, walk to the stoop. And I enjoy the fresh air. I like the potential of encountering dogs on a daily basis, and I get to be a loner. And I’m excellent at peeing in bottles, so I’m very efficient with my drive time. Dailor Ol’ Piss Jug Sanders… Sanders For the first eight years of Mastodon, I wore postman pants every single day. I looked like a homeless, ex-USPS delivery man. We used to send postcards home from all over the world. I could always find the postcards and write them, but I could never find the mailbox or a post office to drop them off. So, I had my postman pants on, and I always had one or more postcards hanging out my back pocket. Dailor I’d work the C-shift at a mini-mart. I can count cigarettes good. I’d always have the freshest coffee on. And I’m loyal. I won’t steal. I’d drop every 20-dollar bill into the floor safe, and I don’t give away anything to anybody. And I’d check everyone’s ID that I think is under 30… If a Mastodon movie was made, who would you want to be cast to play you? — Rory SlavenDailor Gary Busey, for me. Sanders Well, Brad Pitt’s already played Troy, so we’re gonna have Brad Pitt playing Troy Sanders on bass. Dailor And then Brad Pitt on guitar. [Laughs] Why can’t he do like an Eddie Murphy/The Klumps type of thing? For Troy he’ll strap on titties [and a] thick beard, and then for Bill, I don’t know… like a sundress? Blue boots and a diaper? Maybe light his hair on fire. Sanders I think Nick Johnston’s already confirmed the comedian Gallagher to play him. Dailor Yeah, he’ll smash some fruit. Kelliher It’s Gallagher II, because Gallagher passed away. That’s his brother. Dailor Joao’s gonna be played by Frosty the Snowman. They wear the same hat.

As previously reported, Mastodon were recently joined by John Baizley (Baroness) for a surprise set at The Earl in Atlanta, GA. Now, it has been confirmed that the guitarist/vocalist will be appearing throughout the...

Mastodon pulled out several rarities and debuted songs from their latest LP, 'Marrow Deep.' Plus, Baizley will be joining them on their upcoming tour!

Big Hairy Elephant, aka Mastodon, took the stage with Baroness guitarist/vocalist John Baizley for a secret show at The EARL in Atlanta, GA last night (September 11). You can find fan-filmed footage from the rarity-...