Puddle of Mudd’s Kiss the Machine is an album that struggles to find its footing, caught between nostalgia for early-2000s post-grunge and an awkward attempt at modernizing their sound. While there are moments that hint at the band’s potential, the record is often weighed down by uninspired songwriting, uneven production, and vocal choices that feel mismatched or overly forced.

The album opens with “Beautimous,” a track that aims for a sweeping, emotional impact but falls flat. The chorus is dominated by vocals that sit unnaturally high in the mix, sounding whiny rather than heartfelt, while the riffs lack the punch needed to give the track momentum. The rhythm section—drums and bass—provides some solidity, but it isn’t enough to save a track that otherwise drifts toward a generic, uninspired sound.

“Free” follows, relying on simple drums, twangy riffs, and a straightforward bassline, but fails to leave a lasting impression. The vocals, particularly the elongated “freeeeee,” come across as unintentionally comical rather than cathartic, making the song feel more awkward than anthemic. Its simplicity and bland execution mark the record’s recurring issue: a lack of memorable hooks or dynamics.

“In Love with a Dancer” leans heavily into early-2000s post-grunge territory, featuring hollow drum patterns and generic guitar riffs. While the bass and drums keep the song grounded, the vocals feel strained in their attempt to convey emotion and toughness simultaneously. It’s a track that feels familiar—but in the worst way—like a weaker version of the band’s own catalog.

A rare moment of experimentation comes with “Back Against the Wall,” which introduces a trap-inspired beat. Unfortunately, the execution misses the mark. The rap-influenced delivery feels awkward and the bass-heavy, muffled production undermines the track’s potential. An EDM-style buildup toward the end feels forced and out of place, turning what could have been an ambitious experiment into an unintentional parody of contemporary trends.

“Firefly” returns to a softer, acoustic-driven approach. While the warm production occasionally allows the instrumentation to shine, the vocals suffer from inconsistent mixing, and sporadic screams feel forced rather than impactful. The song’s structure is simple and unremarkable, adding little to the album’s overall momentum.

Tracks like “Maniac” aim for grungy garage-rock energy with thick riffs and raw attitude, but instead feel derivative of 2000s post-grunge acts without capturing their vitality. Over-processed vocals and uninspired drums and bass create a sterile feel, and the attempted aggression falls short. Similarly, “Baby You Da Best” experiments with different vocal registers, but the result is awkward and unconvincing. While the instrumentation is competent, the melodies fail to make a lasting impression, leaving the track feeling more like an exercise than a fully realized song.

“Everything” mixes acoustic guitar with rap-inflected verses, attempting a modernized dynamic that doesn’t quite land. The out-of-tune guitar intro signals early missteps, and while the louder chorus sections hint at stronger moments, the song ultimately meanders without resolution. Its approach echoes Alice in Chains’ stylistic flourishes but lacks the cohesion or emotional resonance to succeed.

The album closes with “Win Win Win,” a soft-rock track featuring playful whistles and light guitar lines. While it might fit in a 2000s teen comedy soundtrack, it ultimately fades into the background. Repetitive vocal lines like “c-c-c-come on” feel forced and awkward, perfectly encapsulating the album’s overarching problem: a record that comes and goes without leaving a memorable impact.

Overall, Kiss the Machine feels like an album trapped between eras. Puddle of Mudd attempts to combine post-grunge nostalgia with new stylistic experiments, but the execution is uneven, and the album often suffers from bland melodies, awkward vocal performances, and forgettable songwriting. While diehard fans may find occasional flashes of the band’s former energy, the record largely struggles to justify its existence beyond a fleeting nod to the early-2000s rock scene.