Given the title of its sixth release, it's fair to wonder if is hinting at 2011's or its back catalog. Many of the tracks on dig into the band's seemingly inexhaustible bag of monstrous riffs and wonderfully fractured motifs. That said, as a collective, they unapologetically explore the more polished and accessible songwriting and performing craft found on . This set marks a fork in the road where evolves once more, to cross over from metal's angular, sludgy power to adrenaline-fueled, hook-laden, hard rock. The album was produced by , best known for his work with and . The sound pursues here draws inspiration from the '70s, without remotely being an exercise in nostalgia. There is one notable exception; it's deliberate and obvious: "The High Road" boasts unapologizing worship, albeit ambitiously updated. (Who better?) Its verse/riff structure weds 's rhythmic sensibility to 's dynamic aggression. The anthemic chorus melody and harmonies, and twinned lead guitar roar, were trademarked by 's long ago. "Chimes at Midnight" is intense, fueled by a mammoth chugging riff. It lets the "drop D" freak flag fly, with a near-shouted vocal, harmonic chorus, and spacy six-string interludes. "The Motherload," with its swaggering guitar heroics, is a wound-out yet nearly hummable prog melody, with a relentless bass and snare attack. "Aunt Lisa," with its knotty guitar intro, contains processed vocals, a series of rising and falling key changes, and guesting -- cheerleader style -- in a chanted vocal chorus a la 's "Be Aggressive!" There are also some substantive guitar pyrotechnics in the extended solos in "Halloween" and "Ember City," which, due to their imagination and focus, add dimension to them as songs. "Diamond in the Witch House" is a sprawling, nearly eight-minute closing jam. ' and his menacing growl guest as it lumbers, trudges, and lurches ever forward (longtime fans will likely dig this). furthers what began on : expanding their music past metal's rigid borders -- toward an integrative sound that doesn't leave metal out. ~ Thom Jurek