When a band clashes with their record company and struggles to maintain their identity, it’s rather obvious that they feel strongly about who they are. MuteMath is a band that embodies these attributes. In 2006, the band self-released their debut in response to their label, Warner Music Group, packaging their songs primarily for the Christian market. After much struggle, MuteMath won the right to be marketed into the mainstream, with singer Paul Meany declaring that “we just want to make music with no barriers.”

After the solid success of the their self-titled debut, which received airtime on both MTV and radio, MuteMath are back with their sophomore release, “Armistice.” The record is a collection of eclectic, infectious pop tunes that aren’t the bread-and-butter radio singles many have grown to expect from bands today. The band channels the energy from their intense live shows to record as well as anyone, and “Armistice” comes as close to mimicking that adrenaline-rush as you can get.

The record kicks off with the fist-pumping rocker, “The Nerve,” a scathing commentary about a world that doesn’t seem quite right. Meany growls “Can you believe this world’s like a glassy eyed swiggler caught sipping another one / Can you believe this world’s like a tyrant taking over anything that it wants?” Before long, the band launches into full fury, Meany howling out “Set it on fire!”, shedding a satirical, ironic light on the idea that the only way to save a messed up world is to destroy it.

The next song, “Backfire” is quite the standout, with its groovy hook and chorus that draws the listener in with its infectious catchiness. Like the first song, its upbeat nature is sure to make “Backfire” a favorite live number for the next few years.

The record takes a quick turn with the lower-tempo “Clipping.” The musical layering of Greg Hill’s guitar work, in tandem with Roy Mitchell-Cardenas’ pumping bass rhythms, Darren King’s drum work, a string section, and harmonized vocals create a mysterious yet delectable atmospheric crunch. It serves as a reminder that this band isn’t just another hip jam band, but rather, a talented and versatile unit that is incredibly tight both in the studio and live.

The band continues to exhibit this talent throughout the rest of the record, dabbling in electronica, handclaps, and other elements, churning up their unique style. To say there is no Radiohead influence at all would be bogus, but nothing MuteMath does here comes across as pretentious or wrought in imitation. From the semi-plodding, semi-jogging “No Response,” to the softer introspection of “Pins and Needles,” there is not a moment the listener will become blasé.

The frenzied “Electrify” channels some figments of the previous MuteMath record, particularly “Chaos,” with its urgent, speeding vocals and swift drum work. It’s unabashedly a love song packaged in a less-than-common format; instead of the typical power ballads and cute mid-tempo pop configuration, it’s a raging, intense tune. It seems rather appropriate, considering that love isn’t always tame and serene – it can turn one’s world upside down and make you feel like running around in a fever. Meany certainly feels as such, declaring over and over that “I feel it, I feel it, I feel it in my bones.”

After this, the record ends on a strong note, with the achingly beautiful “Lost Year” and the sprawling 9 minute-plus “Burden,” which certainly won’t weigh heavily on one’s ears. MuteMath only scratched the surface of their talent with their debut, and now have taken their art to the next level with “Armistice.” Listeners will immediately notice a musical growth in the band’s music; MuteMath have certainly nailed down their identity as musicians.