Album Results
Album Reviews
Mudvayne boasts a couple of elements that distinguish it from most contemporary heavy metal outfits. The band adopts bizarre facial makeup that is less suggestive of Kiss than of a bunch of boys who, having failed to plan their Halloween costumes, threw something together by raiding their mother's vanity case. And lead singer Kud (they have funny pseudonyms, too) doesn't always sing in a typical hardcore howl, sometimes descending into a more conventional voice, as if he were auditioning to replace Sebastian Bach in the Broadway production of Jekyll & Hyde. Such characteristics suggest that, for Mudvayne, the thrash style is something of a pose, a suspicion enhanced by reference to the CD booklet, which contains an acknowledgments section as lengthy and gushy as what you'd find on a teen pop album. Can these guys giving thanks and love to family and friends be the same ones performing aggressive lockstep metal, spewing obscenities, and singing about suicide? It seems so, but it's hard to take seriously. (The "L.D." in the album's title refers to "lethal dose," and the "50" refers to a level of toxicity at which 50 out of 100 test animals will die.) [A 'clean' version of the album was released in 2001 as well.] ~ William Ruhlmann, All Music Guide
Track Listing
| 1. Monolith |
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| 2. Dig |
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| 3. Internal Primates Forever |
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| 4. -1 |
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| 5. Death Blooms |
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| 6. Golden Ratio |
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| 7. Cradle |
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| 8. Nothing To Gein |
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| 9. Mutatis Mutandis |
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| 10. Everything And Nothing |
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| 11. Severed |
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| 12. Recombinant Resurgence |
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| 13. Prod |
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| 14. Pharmaecopia |
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| 15. Under My Skin |
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| 16. (K)now F(orever) |
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| 17. Lethal Dosage |
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| Featured Review | |
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Greatest Day Take That |
| It's almost 10 years to the day that Robbie Williams released 'Angels' onto an unsuspecting British public and all at once established himself as one of the 90's most successful solo artists. Leaving his former Take That band mates in the dust, they embarked on unsuccessful DJ careers, below average indie projects and misguided acting jaunts. How fortunes have changed. Whilst Robbie resides alone in L.A. addicted to Red Bull, Marlboro Reds and UFO websites, Take That have re-emerged as one of Europe's most successful pop acts; on the verge of releasing an new album and undertaking a sell-out stadium tour. On latest release, 'Greatest Day', Garry Barlow takes a rest from writing hits for the likes of Peter Kaye, Lee Mead and John Barrowman and hands over some of the creative responsibility to Mark, Jason and Howard. The result is a mid-tempo, piano and guitar driven effort that could easily be filed, along with Coldplay and Snow Patrol, in the inoffensive pop rock section. In many ways the song is merely a preamble to the upcoming tour and just in time for Christmas album, 'Circus', to be released on 1st December. 'Greatest Day' proves that whilst nostalgia is still a major factor of Take That's appeal they, unlike many other reformed groups, are still capable of writing songs that stand up to their earlier work | |
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