Mutoid Man - Mutants

Angry Metal Guy

New York’s Mutoid Man came to my attention via the wise words of Doc Fisting and I’ve been a rabid enthusiast of the colorful power trio’s works ever since. In particular, 2017’s modern classic War Moans hit me particularly hard and helped me navigate challenging personal and professional events occurring around the time. So I hold the album close to my heart and revisit it regularly. Six plus years shot by and waiting time is finally done as the dynamic duo of guitarist/vocalist Stepehen Brodsky (Cave In) and drummer Ben Koller (Converge) return with original bassist Nick Cageao subbed out for High on Fire four-stringer Jeff Matz. Mutants is Mutoid Man’s third LP and channels their super fun and explosive genre-bending blast of metal, punk, hardcore, rock, prog, math and trademark wackiness into typically exuberant and inventive tunes. However, do they succeed in their mission statement, and does Mutants feature the addictive toxic ooze of its predecessors?

Mutoid Man have subtly tweaked and refined their unique formula, without diluting their manically restless songwriting approach. Many of their previously shining attributes are retained throughout Mutants. Lead-off singles “Call of the Void” and “Sirens” unleashed instantly infectious, melodic bursts of Mutoid Man’s effortless blend of high-octane energy, blazing musicianship, and hooky songwriting, bottled into compact tunes designed to spike the adrenaline. However, on first playthrough, Mutants didn’t quite capture that trademark immediacy, leading to kneejerk concern that lofty expectations were going to fall short, with the furious speed and raw, unhinged charm of War Moans tempered slightly. It turns out my initial concerns were largely unfounded as Mutants took little time to sink its claws in. It contains some of Mutoid Man’s most melodic, restrained and accessible material to date however, taking a more refined, though still bonkers approach than War Moans, while injecting the chaotic and heavier elements of the band’s early work.

Within their offbeat and unique style, Mutoid Man keep Mutants chugging along with nifty variations. Heavier cuts, like the chaotic, noisy dissonance and unhinged qualities of “Unborn” and “Siphon” harken back to their aforementioned earlier roots, without diminishing the melodic hooks and quirkier aspects embedded in their songwriting DNA. These aggressive turns sit comfortably alongside more melodic, crunchy fare, such as the sludgy, grooving swagger of addictive later album highlight, “Memory Hole.” Even lesser songs (“Graveyard Love,” “Demons”) still pack bucketloads of zany fun, infectious hooks, and tongue-in-cheek humor into the mix. Epic closing track “Setting Sun” feels like the distant cousin of War Moans brooding ballad, “Bandages.” Not so much in a stylistic sense, but how the rollicking metal anthem, complete with rousing chorus, soulful guitar licks and heroic gallops, carries a similarly impactful emotional heft, closing the album with a powerful classic metal bang.

Mutants is a versatile and engaging listen, that may not surpass the nutso edge or consistent highs of War Moans, but doesn’t trail far behind and it’s never dull. Despite the overflowing stream of ideas, Mutoid Man employ an efficient approach to their craft. And though the writing is more streamlined and restrained than previous offerings, it contains many high points, sharp turns, and unpredictable twists to complement standout performances by its architects. Brodsky is a bonafide riff machine and the skillful ways he riffs and shreds across a wide spectrum of genres and styles while maintaining that wildly technical, melodic and distinctive Mutoid Man character is frequently exhibited, even at groovier, less frantic tempos. Vocally, Brodsky smashes it as well, with a versatile, soulful, and occasionally unhinged delivery. Meanwhile, Koller’s reputation behind the kit is well known and he delivers another powerhouse, complex and ear-catching performance. Matz locks things up tightly with solid basswork, though the crushed mastering and mix impacts the final package and restricts the full potential of his contributions.

Though perhaps edged by its excellent predecessor, Mutants remains a finely tuned and most welcome return for Mutoid Man that should please existing fans and reel in some new enthusiasts in the process. Frequent repeat listens have served to reinforce the impact of Mutants and its addictive, replayable charms. Difficult to pigeonhole, Mutants is at once a thrillingly fun, memorable, challenging, and unique blast of Mutoid Man’s genre-smashing shenanigans that seems destined to stay on high rotation for the foreseeable future.

Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps MP3
Label: Sargent House
Websites: mutoidman.bandcamp.com | facebook.com/mutoidman
Releases Worldwide: July 28th, 2023

Dolphin Fisterer

When War Moans landed back in 2017, all it took was Mr. Fisting’s bewildered and boisterous blurb to put my ears to a single and feet to finding a CD post-hate. I happened to be on a business trip in Portland, OR but I wiggled swiftly by coffee shop, bar, and strip club to find a little store with a big selection and the hot new Mutoid Man drop. With a quick double back to headphones, a computer, and a free 40 minutes, I was in furious, fat-toned, heavy metal bliss. War Moans and I eventually spent a lot of time on the road, knob turned heavily clockwise, windows down—I imagine that’s the way Stephen Brodsky (Cave In) intended it. Now, six years later, and, without even a single disc space in my car,¹ Brodsky and co meet my ears again. And though I’ve changed—and I’m sure Brodsky has too—Mutoid Man really hasn’t.

Well, ok, maybe a little bit. It’s not entirely true that Mutoid Man hasn’t changed—time has a way of taming some beasts, weathering us all to a degree. So is Mutants more mature? Musically, a touch. While Brodsky’s lyrical choices still have as much tongue in cheek as yer mom on an anniversary (“Broken Glass Ceiling,” “Graveyard Love”), the pace lands frequently closer to a butt rock romp than earlier thrash-minded outings (“Unborn,” “Demons”). As a result of this increased mindfulness in tempo, the inherent gripes of Brodsky’s lyrics can come off as cranky, tackling such topics as a partner that drags you down (“Graveyard Love”) and having demons (“Demons”) with a fully audible lack of poetry. However, with enough of a slimy footing in campy neon-crusted heavy metal, Mutants eschews full grouch mode. Not in the same way as celebratory dive bar cornerstones like Defenders of the Faith or Metal Heart,² but as a modern amalgam of that classic, hard rock swagger intermingling with the grooving, core-informed guitar trickery that Brodsky offers, all in a much more achievable arcade karaoke range.

And though sing-along you will to the barbed chorus-work strewn throughout Mutants, Brodsky loves the guitar, brazenly sharing his infatuation alongside his hokey narrative. With Cave In we hear the whiplash alternation of sappy, classic rock refrains and smash-n-grab core-inspired, successful yet sometimes hard to grasp. Mutoid Man attempts instead to wear its six-string wonders exploring as much Van Halen in a modern metal concept (“Call of the Void”) as it does bass-led Maiden harmonies (“Siren’s Song”). Wielding math rock-inspired runs (“Siphon”) and pedal-crushed noise rock blowouts (“Unborn”), Mutants can come off as needlessly abrasive. However, true to maintaining the rock attitude that Brodsky has worked to build here, Mutoid Man falls back on thrash-infused pull-off madness and big power-chord escalations to weave tangible passages for sure-to-bang heads.

In that sense, true to form, Mutoid Man sounds best when loud and open. Though the master isn’t particularly dynamic, with Ben Koller’s (Converge, All Pigs Must Die) calculated chaotic strides on the kit, Jeff Matz’ (High on Fire) mid-heavy bass grumble, and Brodsky’s smart tones, no sound clips or clutters the stage. The warm harmonies that result from smart doubling on punchy tracks (“Frozen Hearts,” “Siren’s Song”) and the piercing pinchwork that squeals recklessly (“Broken Glass Ceiling,” “Siphon”) have little to cut through with all three bodies working their own pockets. It helps too that, at least to my ears, Brodsy hasn’t used any noticeable guitar overdubs, lending each track a “studio live” feel—an extra layer of hypnosis that lends itself well to absolutely crankable solos backed simply by fat, fat bass (“Graveyard Love,” “Memory Hole”).

A band like Mutoid Man hardly sounds like a band only on its third full-length, but this loaded power trio has finesse enough to make it feel as though they’ve been together for decades. Similar to an act like Black Sites—whose modern/classic, anthemic presence feels fit to share a bill with the Mutants’ monster closer “Setting Sun”—Mutoid Man wants nothing more than to have a great time playing music that exudes retro reverence with a deeply personal flair. After all, once Brodsky hits the mic, his recognizable croon can’t take any other form but his. And, likewise, though Mutoid Man may not have captured me as deeply as I would have hoped, the itch that Mutants scratches is one that only Mutoid Man can create.

Rating: 3.5/5.0



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