Unitron Along with Atheist, Mudvayne is the gold standard when it comes to metal that just happens to be technical with crazy musicianship but is some of the catchiest and most memorable stuff I've ever heard. I love L.D. 50 a whole lot too, but this was the first I heard of Mudvayne and fell in love instantly. The whole album is instantly memorable, but songs like Silenced, Trapped in the Wake of a Dream, (Per)Version of a Truth, Skrying, The Shadow of a Man, and the title track are particular favorites that show a perfect combination of the melodies, hooks, screams, riffs, and rhythmic mastery that define the band.

Chad Gray's vocals are at their best, hitting that perfect balance of screaming, nasally yet melodic vocals, and great subtle touches like the Damage Inc-esque whispers of Silenced. However, Mudvayne's rhythm section is the star of the show, especially bassist Ryan Martinie's unique sound. One of the best metal albums of the 2000's.

Warthur Unfailingly catchy, Mudvayne's second album stands as a rebuke to anyone who'd argue that the nu metal scene lacks songwriting chops - you just don't get infectious hooks like this by sheer accident. The main barrier to enjoyment, to me, are Chüd's vocals. It's not that they are bad as such - and lyrically speaking the album is at least a bit smarter than the swear-happy lazy cliches of all too many nu metal also-rans.

It's just that the vocals, whilst competently delivered, just don't do very much for me. The general approach varies between a fairly generic semi-spoken style (especially in the more melodic sections) and a fairly generic semi-shouted style; rinse, repeat. It could be that his vocal approach has ended up becoming a victim of its own success. with enough subsequent alternative metal bands following that style that it no longer seems as fresh as it used to.

The upshot of this is that just as Mudvayne's music hooks me in, the vocals push me away again. If you aren't that fussy about vocals then tack on an extra half-star or two.

Kingcrimsonprog The End of All Things to Come has been one of my favourite records since the day I bought it back in 2002. Eight years later this excellent record still stands up, it has aged a lot better than the vast majority of music from 2002 and still sounds fresh and vital today.

Opener ‘Silenced,’ is the quintessential Mudvayne song, mixing heavy, Pantera influenced groove metal with unusual patterns and complex bass guitar work.

Songs like ‘(Per)Version of the Truth,’ and ‘Skrying,’ retain everything that made LD. 50 great but are more focused and direct, never unnecessarily complicated for the sake of it, but still packed full of interesting ideas and unique riffs. The great thing about The End of All Things to Come is how it balanced the band’s technical and progressive leanings, commercial aspirations and metal foundations perfectly. No other Mudvayne album got the balance just right, but on this album you get songs that seem at first listen to be chunky, heavy and groove based metal and on repeat listens reveal hidden depths. No point on the album sacrifices the metal edge for the sake of complexity and no melodic section seems out of place or overtly commercial, just a chance for Chad Grey to exercise his improved singing.

This album contains the singles ‘Not Falling,’ and ‘World So Cold,’ which just happen to be two of the best songs the band have ever written, where the band’s commercial leanings pay off hugely and rather than watering down the album or compromising the tone of the album, they fit perfectly and add greatly to the already excellent album. Other highlights include the phenomenal ‘Mercy Severity,’ and the heavy and impressive title track.

Lyrically, this has to be the finest Mudvayne album, largely abandoning the swear filled angsty lyrics of LD.50, that albums only draw back and replacing them with interesting and well written lyrics on a range of subjects including Hindu and Budhist philosophies.

The production job on this album, courtesy of David Bottrill is also fantastic and sounds a lot better than the majority of the band’s other work. The tom sound is perfect, the band’s unusual for metal bass guitar style is captured really well, the guitar tone is superb and the mix couldn’t be better. I honestly think this might be the best produced album of the last ten years.

Overall, it has to be said that The End of All Things to Come is both an amazing album, and arguably the best thing the band have ever released. I highly recommend anyone with even a passing interest in Mudvayne give this album a serious listen.