Swedish metal titans Meshuggah have gained quite a reputation as of late which is ironic considering that the challenging and often colorfully timed music the band create has about as much in common with the current popular North American metal scene as Hitler did with Mother Theresa. But none the less, the fact still remains that this group have been elevating in status as of late and with the unexpected shift in direction the band have taken on this offering, this trend is likely to continue, though the distinct change of pace just might leave a few of the bands older fans scratching their heads in the process. Perhaps the clearest example of the groups new approach is the methodically half-timed regiment that the music now strictly adheres to. As a result, each song still snarls with the expected intensity and aggression, but never really takes off running, preferring to instead bludgeon and maul the listener to get the point across rather than pick them apart with the finesse and ferocity their prior outings possessed.

The punishing growls and barks of frontman Jens Kidman fit well with the latest incarnation of the bands material and sound even deadlier as a result of the primal grooves that are now firmly in place. Crushing staccato riffs help to make sure his attack stays relevant, utilizing devastatingly low tunings made possible by the inclusion of 8 string guitars which provide some of the most depraved distorted riffing heard in recent memory. Mathematically played and always technically proficient, their syncopation with the percussion is top notch and helps the bass lines to forge a threatening low end heavy assault that is twisted and contorted by the extremely intelligent and bruise inducing drumming of Tomas Haake. Chockfull of paralyzing double kick hits and stun inducing rolls that thrive on unconventional timing, there is little left to be desired when the caliber or uniqueness of the groups musicianship is involved.

Meshuggah have always evolved as musicians and experimented with different styles with each subsequent release and yet few will be fully prepared for the new sound the band have embraced on "Nothing". This is a punishing and ultimately unmerciful album that sets in and breaks bones without so much as a drop of remorse. Sure most of the bands near trademark tempo shifts and contorting song structures are still in place, but as a whole the underlying sense of primitive hostility and menacingly slow momentum that permeates the entire album make it an all the more evil experience altogether. On the downside, the restrained demeanor can cause the outing to drag on at times with it starting wear thin around midway through due to similar timing structures and little dynamic change behind used, but for what it is, the metallic onslaught this band wage is still easy to embrace if not for individuality alone, then for the sheer tenacity and technical vehemence which the band so effortlessly exude. "Nothing" is definitely a lot more than its name suggests.