Per the promotional material, MAMMOTHOR strives to deliver the essence of Rock; thunderous Heavy Metal riffs and guitar shreds of the 80's, rounded out with the passion and versatility of 90's alternative. Formed in Boston (USA), the band cites FAITH NO MORE, SOUNDGARDEN, MEGADETH, IRON MAIDEN, PANTERA, and SYSTEM OF A DOWN among its influences. "The Ecstasy Of Silence... The Agony Of Dreams" (released August 27, 2021) is MAMMOTHOR's third effort since forming in 2012; following 2015's "Tyrannicide" and 2017's "Devotion Lost." For "The Ecstasy Of Silence..." MAMMOTHOR took a critical look back on their first two albums; deciding to spend more time and depth on composition, pre-production, and studio work. This decision proved astute, as "The Ecstasy of Silence..." is a stylistically interesting - at times complex and almost experimental - collection of riff-based metal.

"M.O.A.B." opens the album, transitioning from a slow, spacey intro to a racing riff. This hard- hitting song features call-and-response interludes between the singer and the band, who's group vocals put me in mind of what one might hear on an 80's Hardcore album. Though the guitar solo is classic Metal, the vocalized sound effects running over top of the track impart an experimental element.

The next two tracks, "Novocaine" and "You Don't Know Me," respectively, are a couple of my favorites on "The Ecstasy of Silence..." (in fact, one of my notes for "Novocaine" reads "what a great song!!"). "Novocaine" is not a simple song, channelling different musical stylings, including thrash. The number is based around a solid riff, which is used as a hook leading into the chorus. "You Don't Know Me" is played more methodically than "Novocaine." Again, MAMMOTHOR have a lot of things going on with regard to style and tempo changes. The central groove drew me in, the chorus is catchy, and the bass provides a significant bottom end throughout the song and underpins the guitar solo to great effect.

"Hitcher's" short, echoey intro gives way to a driving Rock song based around yet another cool riff. The tempo changes sometimes evoke a sludge tonality. "Take The World" is a rocker, the central riff standing out all the more so because of the added percussive accents. The chorus is catchy, very easy to sing along with. MAMMOTHOR throttle back on "Parasomnia," a dreamy track with a spiralling, spacy feel; just right for a song predicted on unusual events or experiences that disrupt speech. "Parasomnia's" guitar solo is one of the best on the album.

"Breaking News," a 25 second news report mixed with police scanner audio about a mass shooting, leads into "Bury The Motive," a dense, heavy, downtempo song befitting the seriousness of the subject matter. It's truly thought provoking, both musically and lyrically, especially considering we find ourselves in a time where such events are all too common.

"Trial By Fire" is an intense song featuring both thrash and sludge elements. The guitar solo is classically psychedelic and left me wishing it had continued longer. Somewhat menacing twists and turns highlight "The Red State Blues," a tune with effectively discordant bridges adding to the song's overall feel. "Final Hour" grows in density, the track anchored by good bass playing and a catchy, interestingly asynchronous beat. The album closes with "Do You Call My Name," another rocker.

On "The Ecstasy of Silence..." MAMMOTHOR establish their cred as riff masters, this 12-song collection largely predicated on cool, interesting melodies. The alternative sensibility MAMMOTHOR brings to the task also makes for an album that is stylistically shifting in an oh so catchy way. "The Ecstasy of Silence... The Agony of Dreams" gives me hope for the future of listener-friendly, accessible metal that is, at that same time, musically interesting and aurally intriguing.