11 Songs, 48 Minutes

EDITORS’ NOTES

Logging in over a decade of service and tending toward the more melodic end of the nü-metal genre, Mudvayne sound like old pros who’ve grown weary of heaviness for heaviness’ sake. It isn’t enough for the Illinois-based group to simply grind it out anymore. They need to engage themselves by exploring their progressive influences more thoroughly and it leads to infinitely more interesting material. “Beautiful and Strange” kicks things off with a twisting and turning that sounds like a band creeping through the basement towards the light. “1000 Mile Journey” sticks close to a catchy melody that’s near pop. “Scream With Me” is far more thoughtful and radio-ready than its title implies. “Closer” chugs with metal’s martial beat and its hoarse, fateful bark, but the guitar solos adhere closer to classic rock. “Heard It All Before,” “I Can’t Wait” and “Beyond the Pale” are the album’s purebred attack dogs, relentlessly charging towards the finish line with no need for finesse, while “Dead Inside” offers up a rare glimpse at the band’s acoustic side.

EDITORS’ NOTES

Logging in over a decade of service and tending toward the more melodic end of the nü-metal genre, Mudvayne sound like old pros who’ve grown weary of heaviness for heaviness’ sake. It isn’t enough for the Illinois-based group to simply grind it out anymore. They need to engage themselves by exploring their progressive influences more thoroughly and it leads to infinitely more interesting material. “Beautiful and Strange” kicks things off with a twisting and turning that sounds like a band creeping through the basement towards the light. “1000 Mile Journey” sticks close to a catchy melody that’s near pop. “Scream With Me” is far more thoughtful and radio-ready than its title implies. “Closer” chugs with metal’s martial beat and its hoarse, fateful bark, but the guitar solos adhere closer to classic rock. “Heard It All Before,” “I Can’t Wait” and “Beyond the Pale” are the album’s purebred attack dogs, relentlessly charging towards the finish line with no need for finesse, while “Dead Inside” offers up a rare glimpse at the band’s acoustic side.

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