MuteMath - Armistice
Record Label: Teleprompt Records/Warner Bros. Records
Release Date: August 18, 2009

When a band clashes with their record company and struggles to maintain their identity, it’s rather obvious that they feel strongly about who they are.  MuteMath is a band that embodies these attributes. In 2006, the band self-released their debut in response to their label, Warner Music Group, packaging their songs primarily for the Christian market. After much struggle, MuteMath won the right to be marketed into the mainstream, with singer Paul Meany declaring that “we just want to make music with no barriers.”

After the solid success of the their self-titled debut, which received airtime on both MTV and radio, MuteMath are back with their sophomore release, “Armistice.” The record is a collection of eclectic, infectious pop tunes that aren’t the bread-and-butter radio singles many have grown to expect from bands today. The band channels the energy from their intense live shows to record as well as anyone, and “Armistice” comes as close to mimicking that adrenaline-rush as you can get.

The record kicks off with the fist-pumping rocker, “The Nerve,” a scathing commentary about a world that doesn’t seem quite right. Meany growls “Can you believe this world's like a glassy eyed swiggler caught sipping another one / Can you believe this world's like a tyrant taking over anything that it wants?” Before long, the band launches into full fury, Meany howling out “Set it on fire!”, shedding a satirical, ironic light on the idea that the only way to save a messed up world is to destroy it.

The next song, “Backfire” is quite the standout, with its groovy hook and chorus that draws the listener in with its infectious catchiness. Like the first song, its upbeat nature is sure to make “Backfire” a favorite live number for the next few years.

The record takes a quick turn with the lower-tempo “Clipping.” The musical layering of Greg Hill’s guitar work, in tandem with Roy Mitchell-Cardenas’ pumping bass rhythms, Darren King’s drum work, a string section, and harmonized vocals create a mysterious yet delectable atmospheric crunch. It serves as a reminder that this band isn’t just another hip jam band, but rather, a talented and versatile unit that is incredibly tight both in the studio and live.

The band continues to exhibit this talent throughout the rest of the record, dabbling in electronica, handclaps, and other elements, churning up their unique style. To say there is no Radiohead influence at all would be bogus, but nothing MuteMath does here comes across as pretentious or wrought in imitation. From the semi-plodding, semi-jogging “No Response,” to the softer introspection of “Pins and Needles,” there is not a moment the listener will become blasé.

The frenzied “Electrify” channels some figments of the previous MuteMath record, particularly “Chaos,” with its urgent, speeding vocals and swift drum work. It’s unabashedly a love song packaged in a less-than-common format; instead of the typical power ballads and cute mid-tempo pop configuration, it’s a raging, intense tune. It seems rather appropriate, considering that love isn’t always tame and serene – it can turn one’s world upside down and make you feel like running around in a fever. Meany certainly feels as such, declaring over and over that “I feel it, I feel it, I feel it in my bones.”

After this, the record ends on a strong note, with the achingly beautiful “Lost Year” and the sprawling 9 minute-plus “Burden,” which certainly won’t weigh heavily on one’s ears. MuteMath only scratched the surface of their talent with their debut, and now have taken their art to the next level with “Armistice.”  Listeners will immediately notice a musical growth in the band’s music; MuteMath have certainly nailed down their identity as musicians.

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Pigeon John and Flynn Adam, both formerly from hip-hop group LA Symphony, dropped an E.P. last Tuesday under the name of Rootbeer.  With 5 tracks and not even 20 minutes of music there was many opportunities for me to listen through it again and again since it was released.  With the top tracks Chimpanzee and title track, Pink Limousine, it is clear that Rootbeer has developed their own brand of hip-hop.  It is animalistic, fast pace and fun.  They have struck gold on these two tracks that would be pleasing to any fan of P.J or Flynn or (any Hip-hop head for that matter).  Girlies is a fun track with a distict Rootbeer sound as well but it takes a back seat to the others.  The last two tracks are Under Control which is starting to grow on me with out it having any special qualities, and So Good with is a throw back to Pigeon John's Sings The Blues.

It feels like Christmas in the music world right now. Radio stations, blogs, myspace pages, newspapers, and magazines are all chomping at the bit preparing for the official arrival of U2’s long awaited new album, No Line on the Horizon. Facebook statuses were a flutter early last week with fan opinions thanks to the full stream made available on U2’s myspace as well as various mp3 leaks…

… and the buzz keeps building.

So how good is No Line on the Horizon? While Rolling Stone gave it a rare impressive five star rating, some fans still say the verdict is out as they consider just how much change they can take from the iconic four piece.

Aided by long time producer, Brian Eno (tack Eno onto any project and it’s bound to sound better), No Line grooves and punches more than Atomic Bomb managing to balance that fine line between preserving an iconic sound and emerging with something fresh.  Adam Clayton’s bass lines are distinct, creative, and shine boldly among the other three members. The Edge plays a little with the fact that his once-scoffed-at textural style has become the pop norm copied by countless amateurs and professionals alike. He mimics himself on tracks like “I’ll Go Crazy if I Don’t Go Crazy Tonight” and “Moment of Surrender,” classic throwbacks to the days of Joshua Tree and Achtung Baby. Bono’s vocals are at their rawest, most honest, most powerful level on every emotion-driven track. After all, if any one is in a position to take risks it’s him.

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In a scene dominated by the gentle, hypersensitive sounds of Sufjan, The Welcome Wagon, and Fleet Foxes, Jon Foreman and Sean Watkins finally inject some manliness back into the acoustic guitar. Fiction Family, the culmination of two of our generation’s most prolific and respected songwriters, debuts as a masterful collection of tales about murder, adventure, lost love, and war that highlight each contributor’s strengths and personalities while managing to defy perceived expectations. 

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