Mutemath

“Chaos”
from the album Mutemath
2006
iTunes

Artists and journalists throw around the word “experimental” with frequency and laziness. If a band doesn’t solidly fit into one particular genre they may be described as such. If their songs tend to be longer than four minutes, or they insert long meandering solos, or demonstrate impressive collections of effect pedals or a willingness to use excessive reverb, they may also be thusly dubbed. “Experimental,” therefore, is an over-used and nearly worn-out descriptive. In the case of Mutemath, however, it is entirely appropriate –- maybe even essential.

Former Earthsuit member Paul Meany, Greg Hill, Roy Mitchell-Cardenas, and Darren King have created one of the few truly experimental and accessible projects of recent years with the band’s self-titled debut. Before the first note plays, the album sets the stage with amazing packaging. Musically the disc dabbles in off-speed rhythms, layers of digital and analog sounds from a mélange of sources, modally intricate harmonic compositions and startlingly simple and beautiful melodies. At times reminiscent of alternative icons the Police, Radiohead, Zooropa-era U2, Pink Floyd, or the indie aesthetic of Ester Drang, and at other times gleefully informed by classic “art rock” such as Alan Parsons Project, 10cc, Yes or King Crimson, Mutemath is noisy and intimate. It is intricate, and simple. It is melodic and dissonant. In short, it is brilliant.

The band is equally as experimental in both the lyrical and positional aspects of the project as well. Though currently involved in an actual lawsuit with Warner Brothers and their Christian division Word Records over that company’s positioning of Mutemath as a “Christian band” (the band never intended to be labeled as such, but has been involved with Christian market tours and distribution), the songs on Mutemath point heavenward almost constantly. Though never obvious or blatant (nothing about Mutemath seems to be either), the songs weave poetic sketches of longing and determination to break through the mess of self and life to find the light behind it all. While the songs are never specifically “Christian,” they are deeply and movingly spiritual, and completely consistent with a Christian worldview.

Songs like the ridiculously catchy-yet-challenging “Chaos,“ the aggressive and ambient “Break the Same” or the sublime “You are Mine” couple dense, cascading sounds with Meany’s cerulean-clear vocals and heartbreaking melodies to create a cohesive, yet wildly diverse set of songs. The effect transcends the petty disputes over labels and tag-lines. This is the kind of art that will earn attention, if given the chance, well beyond the underground community of faith. If the chips fall right there is no reason Mutemath might not be the next huge break-out band. Several of the songs are obvious hits –- and on the whole this might be the best alternative album released in 2006.