"Change, it hurts for some / But I'm counting on what's yet to come."

Paul Meany's lyrics on Mutemath's fifth and most recent studio LP "Play Dead" are eerily relevant, and will remain so for (hopefully) years to come. The band's name, of course, is Mutemath, and their status quo seems to liken some comparison to other alternative rock outfits such as Paramore and Panic! At the Disco, in that their lineup is consistently changing nearly from album to album.

When the band's fan favorite, world-class drummer Darren King left the band (shortly following the departure of multi-instrumental helming bassist Roy Mitchell-Cárdenas

) the direction of Mutemath felt unsure. But with the recruitment of two exceptional live show stand-ins, and the delivery of not just one of the band's best studio albums, but one of the best rock albums of 2017, Mutemath doesn't appear to be going anywhere anytime soon.

"Play Dead" is the lyrical honesty and grit of their third LP "Odd Soul" mixed with the electronic, spacey, other-worldly instrumentation of their previous album, "Vitals." It is the return-to-form jam sessions of the band's self-titled debut expertly blended with "Armistice"'s (their sophomore album) meticulous attention to percussion. In short, experiencing "Play Dead" is like experiencing the essence of all things Mutemath.

The opener, "Hit Parade," offers a glimpse of nostalgia in comparison to the tracklist's versatility. From rapid-fire drum fills to embracing walls of guitar-work, the sonic package of the album's introduction is the perfect way to begin what becomes a journey through uncharted, unexplored sounds for Mutemath. While the song is still a new step for the band, it also eases its heavily dedicated fanbase into one of the most experimental albums of the year.

Tracks like "Stroll On," "Everything's New," and "Achilles Heel" all will trick you into thinking you've somehow entered some form of reality-bending wormhole. The electronic whirls of noises and crunches elevate the raw, traditional rock instrumentation, and tracks like "Achilles Heel" prove that listening to a band's remixed jam session can still be exhilarating. While not every mere second of these experimentations is a home run ("Everything's New" runs a bit too long for my liking) the band has already moved to perfect these set pieces in their live show, so it can be forgiven.

Meany's lyrical duties are not only fulfilled, but are a standout on this already star-studded project. "Nuisance" sees the reconciliation of Faith between childlike wonder and bitter pessimism "Pixie Oaks", while facing a peculiar position in the track listing, serves as an adorable sing-a-long that any parent can relate to (and also features Meany's daughter in its final moments.) "Achilles Heel" features some of the most aggressive lines in Mutemath history, as we see our frontman tackle the all to common hypocritical and uncommitted plaguing the Christian Faith.

To point out the other standout tracks would be to simply go down the tracklist and recount any tracks I have not previously mentioned. Though, I must commend the band for the captivating "Placed On Hold," as the group lyrically deals with the untimely death of a loved one, while musically fleshes out the track with gorgeously spacious guitar-work. And the album's closer, "Marching To the End," (from which the lyrics that opened this review are pulled from) is possibly the greatest ballad the band has ever written.

If you are a fan of rock, progressive musical experimentation, have a desire for beautifully poetic lyrical content, or are looking for your new favorite album of the year, then Mutemath's fifth (and possibly most daring) LP "Play Dead" is for you! If anything, this project should be a clear indication that Mutemath remains one of the most underrated and talented groups of modern music.

4.5 / 5

Mutemath returns with one of the year's most experimental yet tasteful albums yet.