Review Summary: Mudvayne explore their roots, and just about come out on top
The music played on Mudvayne’s fifth studio effort sounds so much better and consistent to the previous year’s release, the simply dreadful “The New Game”. It sounds as if a new, revitalised band were playing the music. All Mudvayne had proved in 2008 was that nu-metal was completely dead, languishing in a corner full of repetitive guitar riffs and dreadful vocal subjects, and while this self-titled effort doesn’t exactly hit all the right notes, it hits enough to show there is still life in this band yet.
It is indeed odd that the music present here was recorded virtually in conjunction with “The New Game”. It is perhaps even stranger still that the band refused to publicise it as well as the previous effort. Then again, maybe it isn’t as Chad Grey and Greg Tribbett were about to release material for their god awful side project “Hellyeah”. What “Mudvayne” is, is “The New Games” angry, beer swilling half brother, proving that complex double bass rhythms and naff ballads don’t make a nu-metal album. Songs such as “Beautiful and Strange” and “Heard It All Before” are nothing but genuinely good, balls out metal records that take a leaf out of Pantera’s groove metal book. “Heard it All Before” mixes a Tool inspired opening with a great riff that while heavy proves very catchy, and during the choruses a weird, fly-in-a-bottle drone sounds over the music, meaning Mudvayne sound just as strange as they did back in 2000. “Beyond the Pale” sticks to the classic Mudvayne sound of spiky guitars, good chorus and angsty vocals with a considerable vocal performance that while sticking to Chad Grey’s usual subject matter sounds particularly impressive.
However, Mudvayne’s biggest problem is their refusal to break out of their sound they have adapted ever since 2005 and Lost and Found. The biggest criminal is Chad Grey, still blurting out “They say that dead men don’t pull triggers, but I’ll prove them wrong!” and using his proper singing voice a little too much. Anyone who has heard it before will know just how bad it is, especially when he tries to suppress it and add some strange effect to it that makes him sound like he has a constant cold. Ryan Martinie is also still the star that shines on this album, and unfortunately at times his bass playing slips into the background far too much, especially on the opening, death metal-esque opening riffs on “I Can’t Wait”. When it is a backing instrumentalist that is still the best member in the band, over 15 years into their career, you know something is wrong.
As for drummer Matt McDonough and guitarist Greg Tribbett, it is business as usual, which is neither exceptionally good nor exceptionally bad. At times, Tribbett unleashes a killer riff from his guitar, such as on “Heard it All Before” or “Beyond the Pale” and its spasmodic breakdown halfway through, other times he prefers to give us some crappy classic Mudvayne lead work, like on “Closer”. McDonough puts in a solid performance, not giving any frantic or very difficult fills, but overall complexity redeems his efforts considerably.
Mudvayne’s fifth full studio album proves that there is still life in the band, and is a considerable step up from “The New Game” and its dreadful quality. However, it still keeps some of Mudvayne’s bad habits, and while the good songs really do shine on this record, all this manages to do is highlight the bad ones even more. It’s a pretty good listen, but if you never liked this band, then this album won’t change your mind in the slightest.
Recommended Tracks:
1. Beautiful and Strange
2. Heard it All Before
3. I Can't Wait
4. Beyond the Pale
