Three years on from the birth of their self-titled full-length debut, Mutemath's second album, "Armistice" had some heady heights to live up to upon its recent release. "Mutemath" was a modern classic of alternative rock, liberally sprinkled with inspirational melodies, effervescent experimentation, and, in "Typical" a song hooky enough to captain a pirate ship.
So, where from there? Well, it seems, in to a time of struggle and band tension, as an original batch of songs for a follow up record were scrapped, and producer Dennis Herring was brought in to oversee troubled sessions. So, should there be a fear... Read More Three years on from the birth of their self-titled full-length debut, Mutemath's second album, "Armistice" had some heady heights to live up to upon its recent release. "Mutemath" was a modern classic of alternative rock, liberally sprinkled with inspirational melodies, effervescent experimentation, and, in "Typical" a song hooky enough to captain a pirate ship.
So, where from there? Well, it seems, in to a time of struggle and band tension, as an original batch of songs for a follow up record were scrapped, and producer Dennis Herring was brought in to oversee troubled sessions. So, should there be a fear that "Armistice" fails to build upon the strengths of its' predecessor?
Far from it. Every inch of "Armistice" feels just right. The songs are sleeker, more concise, but within there lie layer upon layer of nuance, be it in a vocal inflexion, a synth glitch, or an effect-laden guitar part. From opener, "The Nerve", you know you're in for a satisfying listen. All the elements which make Mutemath such an astonishing band are firmly in place: Greg Hill's inventive, angular guitar work (see the title track, "Spotlight" and "Burden" as key examples), the elastic bass of Roy Mitchell-Cardenas, Paul Meany's textured keyboard and Rhodes work, his (much more confident and strident sounding this time round) silky tenor and, to these ears at least, the thing that sets the band apart: Darren King's exceptional drumming. King uses the drums not just as a rhythmic instrument, but as a melodic counterpoint to the rest of the band, alternately driving a song like "Goodbye" with it's insistent groove, and powering through on "Electrify" as he vies to be the centre of attention. And that's without mentioning the astounding closer, "Burden" which has more twists and turns than most bands manage in a whole album.
This is the sound of a band growing comfortable in its own skin, and realising the potential contained within. At the same time it is a glorious example of focused creativity. While, lyrically, Christian themes are subtle rather than front and centre, it is undeniable that this is one of the most exciting albums made by a bunch of Christian guys you'll hear in many a long year.
