Search - MUTEMATH :: Armistice

Genres: Alternative Rock, Special Interest, Pop, Rock
  •  Track Listings (12) - Disc #1

Anointed by Alternative Press as 'the #1 band you need to see live before you die,' eclectic and inspired electro-alt MUTEMATH scored in late 2008 with 'Spotlight' (#1 Billboard Hot Singles Sales for two weeks) on the soun...  more »


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CD Details

All Artists: MUTEMATH
Title: Armistice
Members Wishing: 0
Total Copies: 2
Label: WEA/Reprise
Original Release Date: 1/1/2009
Re-Release Date: 8/18/2009
Genres: Alternative Rock, Special Interest, Pop, Rock
Styles: Indie & Lo-Fi, New Wave & Post-Punk, Experimental Music
Number of Discs: 1
SwapaCD Credits: 1
UPC: 093624975366


Product Description
Anointed by Alternative Press as 'the #1 band you need to see live before you die,' eclectic and inspired electro-alt MUTEMATH scored in late 2008 with 'Spotlight' (#1 Billboard Hot Singles Sales for two weeks) on the soundtrack album to Twilight. The track now also appears on the group's second album, Armistice. Produced by Dennis Herring (Modest Mouse, Elvis Costello, The Hives), Armistice melds moments of beauty with big hooks and booming vocals. Challenging the limitations of alt-rock, MUTEMATH has rightly earned a reputation as one of modern music's most daring young groups.

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CD Reviews

A Fantastic Sophomore Effort
I'm a Radio-Head | this place i call home | 08/18/2009
(5 out of 5 stars)

"This is one of the most quietly anticipated albums this year I think. And it pays off well. Armistice begins with "The Nerve," a fun, heavy rock song with a chorus of "Set it in fire!" Sure to be a winner at live shows. It's a perfect way to start off the album: with a song that sounds like you're having fun recording it. The next song, "Backfire," is slightly by the books but is saved by Darren King's incredible drumming and Greg Hill's sparse guitar riffs. The third song, "Clipping," may be my favorite song on the entire album. It's a perfect blend of everything MuteMath does well. Rhythmic-drumming, incredible singing, pulsing bass, beautiful pieces layered on top. The next two songs worth mentioning are "No Response" and "Pins and Needles." "No Response" is a slow-rhythm pop song with toasty-warm vocals and hip-hop drums. There's a particularly wonderful part towards the middle of the song: after the first chorus, the organs cut out to reveal a softly-played piano part subtly-tweaked with what sounds like a pitch-shifter. "Pins and Needles" begins sounding like a real subtle salute to dubstep before Paul cuts the pitter-patter drums with beautiful vocals. Piano joins the arrangement during the chorus and the song almost takes a turn for In Rainbows-era Radiohead with incredible drumbeats and a hauntingly beautiful string arrangement at the end. "Goodbye" may be the biggest misstep on the album. It's a little much with its blend of Coldplay piano and almost-Middle Eastern string part towards the end. But it's still enjoyable, which is a big part of why this album works. Then comes the biggest save of the album. "Odds." I found myself trying to find the beat my first few times through. I absolutely love the rhythm in this song. And the way the snare and handclaps come in on following choruses... it's incredible and it's never overboard. One of the neatest parts of the song is realizing that there are ghostly "oooohs" going on in the background throughout the whole song. "Armistice" is another prime part of the album. Handclaps, sick drumming, and an extremely fun guitar part open up the song before it quiets down for the verse where the best part of the song is revealed: the bass. Roy Mitchell-Cardenas' superb bass on this album shines through particularly well on this song. It's going to be incredible seeing them perform this live. "Lost Year" being the only ballad on the album, "Burden" had to be all about energy. It's this album's "Break the Same." It builds on a real steady drumbeat, explodes into a drum solo and then gets extremely calm before slowly building up once more, adding layers and layers of sound and drum parts before Darren just breaks free of his restraints and lets loose on his drumkit, solidifying his place as one of music's best drummers. It's a wonderful sophomore effort and gets 5 out of 5 stars from me (since I can't put 4.5 out of 5 stars)."
What the Funk?
Philip Atherton | Phx, AZ | 09/03/2009
(4 out of 5 stars)

"Sophomore albums are like sequels to great movies. At first you get excited about the prospect of seeing all your favorite beloved characters again. Then you become apprehensive. A thought pops into your head. "The Empire is striking back? Sweet!" Then another. "There's going to be a female Terminator?! Ah, crap!"
Mutemath's latest CD had me saying both. Their first, self-titled, album was nearly flawless. It has yet to leave my CD player. And when it does, it'll be a cold day in hell. So as I frolicked out of Hoodlum's with the CD in my hands, I thought to myself, "Wait... what if they can't do any better than that first album?"
So I set the mood for a fresh listen. I waiting until the evening, rolled the windows of my car down, lit some candles, poured a glass of wine, put on some smooth jazz (then took it off realizing how difficult it would be to hear two CDs at once), and slid Armistice by Mutemath into the CD player.
I was ready to rock. That was my first problem. I was initially let down. This was not the Mutemath I had fallen in love with. There were no catchy riffs, no loud, impassioned vocals, and no instrumental experiments.
But one day, upon my fourth or fifth listen with Armistice in the background, I got it. In a musical epiphany, I realized just how much soul these boys from New Orleans have. You can't rock to this album. You have to get down to it. That can be done with a little less head movement and a little more pelvis.
I realized that Mutemath was able to accomplish one thing twice. They were able to create a fresh album.
Come on, Mutemath!!!!!
Christian Lobo | Portland, Oregon | 01/10/2010
(2 out of 5 stars)

"The singer used to lead a band called Earthsuit, but he stopped that because the style was too cryptic for what he was trying to express and very few people understood it. So when Mutemath came around, it was such a clear presentation of real issues that you couldn't misunderstand ("How long should it take somebody before they can be someone?" Typical)

I loved Mutemath's first CD because the combination of style and content was so personal and I could relate personally to every song. I expected a second CD to be a more refined expression of serious issues in a stylish, catching way, but I found that they let their presentation determine their content. I respect musicians who choose the appropriate style to express something personal, but it seems as if they let their unique style start wearing the pants. There are a few songs I perceive to be sincere: "The Nerve", "Pins and Needles", and "Goodbye".

If you like their style and don't care about the content, this is a great, unique CD. But I care about the content, too, and I don't like it.