As a relatively long-term fan of the band, I have been awaiting the release of Mouth of the Architect’s (MotA) Quietly for more than a couple months. If you are a fan of the band (you probably already own this by now), you’ll agree with me that Quietly delivers. If you aren’t familiar, MotA’s unique brand of post-metal is characterized by violent, sludgy, detuned walls of distortion and the vocal onslaught of keyboardist Jason Watkins and recently-returned guitarist Alex Vernon.

Quietly picks up right where “The Ties That Bind” left off, but as its name suggests, with a tastefulness, consistency, and maturity that makes the previous work pale in comparison. A lot of the earlier material varied greatly in quality from song to song (or even within songs), but there are so many memorable and moving moments on this album: the title-track redefines the term “power chords” with a bombast and weight that nearly buckles your knees. “Guilt and the Like” features a lilting semitone synth line that has just enough tinkle to cross the border from ridiculous to creepy. It sounds almost like a perverted lullaby until the bearded, screaming men abruptly enter, almost like Macbeth’s ghosts coming to torture his dreams. The demo-version of “Generation of Ghosts” I heard several months ago has now been graced with the gorgeous but harrowing voice of Julie Christmas (Made out of Babies). There are two ambient tracks, but they serve their purposes to give some relief from the punishing “Hate and Heartache” and “Rocking Chairs and Shotguns,” as well as build tension for the aforementioned “Generation of Ghosts” and sufficiently epic closer, “A Beautiful Corpse.”

I was initially turned off to the rhythmic pulsing of “Rocking Chairs and Shotguns.” Mr. Vernon hits a noticeably sour note at the beginning and one riff is uncannily similar to a song from ISIS’ In the Absence of Truth (the name of which eludes me). However, it quickly became my favorite for two reasons: One, it is superior to the ISIS’ song from which it borrows, and secondly, Alex’s untrained voice is pardoned by the fact that he is actually singing! In my opinion, this song is the album’s, and possibly the band’s, finest moment. After an introspective intro, it begins with a lone swung guitar rhythm that surprising (and delightfully) turns out to be syncopated when the band enters. Vernon’s clean vocals sound achingly beautiful compared to the din going on around him especially contrasted against Watkin’s vicious, almost rap-like, baritone roar.

I am aware this reads like an advertisement, but Quietly is really that good. On this album, MotA has finally perfected their sound. Back to the ISIS comparisons, sure, it isn’t a revolutionary Oceanic, but Quietly is MotA’s Panopticon. As near as is possible for an artist, the band has honed their sound to a science. Like ISIS, they too will have to go in a new direction for the next album. Why? Because its nigh impossible for MotA to top Quietly.

- Bernard Koch