We had a new lad start in the office of my proper job (to be honest, I use it as a chance to do MV on a different computer, but don’t tell anyone……) and they stuck him on the empty desk next to mine.
Small talk and pleasantries, of course, are the order of the day and he says to me: “how long have you been here?” “Almost 12 years,” I reply, before realising that over a quarter of my life has been spent in that room, so you had better believe I understood the words of Mark Morton when he said, in the build-up to his first solo record that: “This album wasn’t a concerted effort to start something outside Lamb of God. Music is always in my head, and until I write and record it, it’s stuck there. But once I record it, it’s out. It’s a catharsis, more for my own sanity.”
Ever wondered why I do the website?
Of course, Mark Morton can call on a few more star names than me. The band is made up of Roy Mayorga, David Ellefson, Ray Luzier, Paulo Gregoletto and Alex Bent, Mike Inez, Jean-Paul Gaster, Steve Gorman and Marc Paul.
And that’s before we get to the singers. Which we will.
You see, this is a solo album rather like that one Slash put out with all the guest vocalists. And if that means it isn’t a coherent thing, then that’s the point. This is one where each song has its own distinct personality based on who is delivering the lyrics.
Some of them you’ll know, some you might not, and that’s the real joy here in truth.
The record kicks off with a quite brilliant effort. “Cross Off” we might as well say from the off is a testament to what a fine singer Chester Bennington was, and the track belongs to him.
Indeed, “Anaesthetic” has a more modern, contemporary sound than most LOG, as if Morton was only going to do this in a different way. “Sworn Apart” sees Jacoby Shaddix take centre stage for an arena filler, but for my money the crowning glory here comes from the incredible “Axis”, acoustic driven, with drum loops, but with Mark Lanegan, godammit. Giving it his best Tom Waits too, and delivering brilliant poetry like: “met Judas in west Texas, he tried to take my name…..” No one has a clue what this is all about, but just revel in it for goodness sake.
“The Never” is a proper thrasher. Chuck Billy and everything, but also Jake Oni, who had the idea for this record, is fittingly here, while if I was the facetious type I’d say that “Save Defiance” is another example of the fact that everything Myles Kennedy does when he’s not in Alter Bridge is better than when he is, but we’ll move on…..
A couple of years ago I adored the last Sons Of Texas record, and their singer Mark Morales shows why it was so good on the huge “Blur” and Josh Todd makes “Back From The Dead” here just sound like Buckcherry at their most muscular – and catchy.
Special mention must go here to Morton, who handles all guitars. The way gives them all such a distinct feel showcases his talents in the most amazing way and when he goes truly solo on “Imaginary Days” he proves he could have done the whole record like this if he’d wanted.
He calls on Lamb Of God’s Randy Blythe to finish this, and he does, on “The Truth Is Dead” – a duet with Alissa White-Gluz, which sounds both crushing and ominous, but is far from an actual Lamb Of God song.
It is one of the other cuts, though, that highlights, perhaps, that this was Morton getting it all out there. “Reveal” sees Naeemah Maddox (a singer songwriter from Philadelphia) take things into a soul filled direction with her superb voice.
That Morton was prepared to do so many different things is massive credit to him. But “Anaesthetic” is more than that. It is a genuinely interesting and altogether enjoyable collection from a man who – on this evidence – you’d be a fool to pigeonhole. If this is what he does on his holidays, then you’d probably best look forward to the next time he takes a break from the day job.
Rating 8/10
