Stereomud

While every alternative metal band can no doubt assert that its lyrics exploring gloomy landscapes of mishandled relationships/too many wedgies in gym class/tortured Oedipal complexes offer the maximum amount of renewal and release for its fans, most albums in the genre are actually elaborate piss for distance contests. Who has the best Mesa Boogie rectifiers, the strongest vocal chords, and the most bitchin' tattoos? These are the pressing issues that are dealt with subliminally on Every Given Moment. While Stereomud's 2001 debut, Perfect Self, was a sometimes credible alt-metal growler with almost no distinguishing characteristics, the follow-up is a beast from Hell. Thanks to producer/engineer John Travis (Kid Rock, Buckcherry), Stereomud somehow sounds even more enormous, with multiple layers of roaring guitar, gritty, sludgy basslines, and propulsive, beefy drumming. This is a huge plus in a genre where bands live and die by the tenets of volume, rage, and tough-guy rock posing. "Show Me"'s quiet-loud dynamics are utterly predictable, but nevertheless launch the album out of the gate effectively. "Anything but Jesus" is a Disturbed sound-alike; fortunately, it's not even close to being Every Given Moment's high watermark. The album hits its stride with "Define This," a song that will crush unworthy stereo systems with its lockstep rhythms and faceless slabs of depraved guitar tone. Stereomud shoots itself in the foot with "Coming Home." Though it's a valiant attempt at melodic alt-metal, it fails when surrounded by the full-throttle funny-car thunder of tracks like "Drop Down" and "Fallen." Every Given Moment should give Stereomud bragging rights in the nu-metal herd, at least until DOD develops an even sicker distortion/compression pedal. [A Japanese version added a bonus track.] ~ Johnny Loftus, All Music Guide