{"id":77076,"date":"2019-03-11T11:00:25","date_gmt":"2019-03-11T11:00:25","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=77076"},"modified":"2023-04-07T14:24:47","modified_gmt":"2023-04-07T13:24:47","slug":"review-mark-morton-anesthetic","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-mark-morton-anesthetic\/","title":{"rendered":"Review: Mark Morton – Anesthetic"},"content":{"rendered":"

\"\"The primary guitarist\/songwriter for Virginia groove metal outfit Lamb Of God has snuggly secured his legacy in metal for over 30 years, abrasively crafting his signature guitar tone and influencing countless heavy artists over the years.<\/p>\n

A month before this album was released, Mark Morton<\/strong> stated that he didn’t want it to be “just an album full of smelly dudes”<\/em><\/a>, which given the genre’s traditionally macho sensibilities is a bold stance to take.<\/p>\n

That being said, the roster of artists he has chosen to collaborate with on ‘Anesthetic’<\/em> all come from notable backgrounds, such as Jacob Shaddix of Papa Roach, Myles Kennedy of Alter Bridge. Nevertheless, the only woman to contribute vocally here is Alissa White-Gluze of Arch Enemy.<\/p>\n

The opener that gives ‘Anesthetic’<\/em> the biggest amount of hype is ‘Cross Off’.<\/em> As one of Linkin Park’s Chester Bennington’s final musical contributions before his passing, it has everything that made his vocal style so iconic. His hybrid of raspy screams and saccharine melodies flawlessly fit alongside Morton’s guttural riffs.<\/p>\n