But now comes The Amalgamut, perhaps Filter's strongest record yet. Though certainly flavored with the hook-laden industrial metal the band has always favored, The Amalgamut goes even farther than Title did in cementing the band as significantly more than a one-trick pony. There are, of course, the big drums, the dissonant, fuzzed-out chord patterns and Patrick's unmistakable screech. But layered beneath what one might expect from Filter lie some unfamiliar constructions. "Where Do We Go from Here" is built around a minor-key acoustic-guitar chord pattern that piles bleakness upon despair; "The Missing" revisits Patrick's distaste for Christian dogmatists, although this time around he's almost lamenting the way religion ruined the world instead of raging against God's mindless minions: "You love to be cruel / I'm not a good tool."

Filter's experiments aren't always successful -- if it weren't for the typically Patrick bleak lyrics, "God Damn Me" might sound like a latter-day acoustic Alanis Morissette song. Filter still seems most at home on vitriol-laden ragers such as "Columind," a rant aimed at the country's most infamous high school gunmen. Overall, The Amalgamut is a sharp-tongued document of Patrick and company's growth as musicians, and maybe as people, too.