It comes as no surprise that Armistice, like most of MuteMath’s previous work, is devastatingly upbeat and possesses their usual streams of soothing lyrics and creative use of countless instruments. Truth be told, the quartet demonstrates a unique style and an ability to collaborate creatively and intelligently on just about everything they create. That does not mean that hasty assumptions should be made about their new album however. If anything, you have to give these guys credit where it is due: they spent almost three years creating sixteen songs for a new album, almost broke up, trashed the sixteen songs completely, and eventually called on producer Dennis Herring for help. Herring not only managed to convince MuteMath to scrap the material they already had, but also within three months, the guys had twenty songs written, twelve of which would become Armistice. Still don’t believe that the New Orleanian quartet has what it takes? Read on, friends, and discover the magic that is MuteMath.
Armistice opens with the fast-paced “The Nerve” which serves as a fitting example of how MuteMath can make the tambourine and keyboard combination work; a talent few bands today can master. In the same vein, after about a minute, the chorus lyric, “Set it on fire! Set it on fire!” droning on and on becomes a little tired. Overall, however, the quality of musicianship on the track cannot be knocked; Darren King’s drumming in particular is intense and incredibly sophisticated. With Paul Meaney’s sensual and, at times, innocent vocals and piano skills, Greg Hill lending his guitar and vocal talents, and Roy Mitchell-Cárdenas establishing a steady bass, “The Nerve” makes a perfect launching pad for the album: you have little choice but to give the rest of Armistice a listen.
Fans of the 2008 film adaptation of Stephenie Meyer’s vampire love story, Twilight, may recognize at least one track from Armistice. “Spotlight (Twilight Mix)” surfaced on the movie soundtrack last November, and subsequently generated quite a buzz. In April, the band released “Spotlight” as their first official single from Armistice, and the song went on to spend some time on the Billboard charts. While “Spotlight” comes directly from Armistice, the version featured on the Twilight soundtrack is a bit different. But no worries, the differences are minimal, and it would take considerable scrutiny to recognize them.
If you are looking for something sophisticated and sexy to listen to, then “Electrify” is right up your alley. With lyrics like, “I’m in love with this girl, that’s got my head electrified / I hope that someday she might go too far, go too far,” there really is not much else to be said, other than…wow. These guys have matured a lot in the time since their last release. It is always exciting when an artist reinvents themselves (and I do not mean you, Britney) to a point where the fruits of their labor become clear over the course of a new album. When it boils down, you really just have to listen to this song for yourself to comprehend the intensity and thought behind it; it is really kind of brilliant. Lyrics aside, from a sonic standpoint, the guitar on this track is comparable to any work by The Shins. King’s drumming is friendly and has its pop-rock tendencies, but here that is only a good thing.
I've always been a huge fan of Paul Meaney’s piano playing (and his penchant for that Rhodes piano). But with the track “Goodbye” situated in the middle of the album, my trust in his musical ability has once again been reaffirmed. “Goodbye” is a showcase of talent; King’s drums and Mitchell-Cárdenas’s steady underlying bass make a strong foundation for Meaney and Hill to bring the piano and guitar playing to a new level. And with a hint of twinkling keys and the slightest touch of strings, this track really takes the cake.
My absolute favorite track on the record, “Valium,” is one of three really cool bonuses that are tacked on to the end of Armistice. If you can get your hands on this song, by all and any means, please do so. It sounds entirely different from the rest of the album, and it displays a whole new facet of the quartet's abilities. They really go out on a limb with “Valium,” but their efforts are not in vain. The track generates a more acoustic, adult sound while tearing out of the electro-indie rock outfit - a trap into which their peers commonly fall. That doesn’t mean that it will lull you to sleep; if anything, it will have the opposite effect. If you have gotten this far into Armistice and have not yet been thrilled, make way for “Valium”. With confidence, I can say that this song is the deciding factor that helps fasten together the rest of the album.
Undoubtedly, there are numerous aspects of MuteMath’s improved sound and style that run concurrently throughout Armistice. For instance, the revamped cohesion between every instrument and band member is obvious. When Meaney’s velvety vocals swoon and piano skills shine, Hill is right there to back him up, both vocally and with his guitar. And King and Mitchell-Cárdenas must not be forgotten, either: King’s abilities as a drummer are stunning, and when paired with Mitchell-Cárdenas’ creative bass efforts, they make perfect counterparts to Meaney and Hill. Additionally, the band's shift toward more mature themes in their lyrics has been a wholly positive one, as has their frequent variation between electro-rock and acoustic tendencies. If these guys were striving for credibility, then I have three words for them: job well done.
In an interview earlier this year with The Morning Call, vocalist Paul Meaney said of Armistice, “Anyone who thinks the first album is perfect will hate this [new] record. If you heard the first record and liked some stuff about it [but] think things could improve, you may like it. It's important for us to change up the formula.” Enough said.
Track List:
1.The Nerve (2:57)
2.Backfire (3:21)
3.Clipping (4:05)
4.Spotlight (3:20)
5.No Response (4:01)
6.Pins and Needles (4:05)
7.Goodbye (4:09)
8.Odds (3:00)
9.Electrify (3:48)
10.Armistice (3:53)
11.Lost Year (3:31)
12.Burden (9:10)
