I Breathe the Underground

Define "Irony"

After about two weeks of some hardcore listening, it's pretty clear to me that Manchester Orchestra is neither British nor orchestral. Still, there's something defiant and clear-cut in the band's hodge-podge of influences, something clearly defined that helps the Atlanta natives stand-out against the backdrop of pretentious indie rock permeating the music scene as of late.

Manchester Orchestra's recently released second label-backed full-length Mean Everything to Nothing is as ironic as the album's title. MO front-man Andy Hull has cited a diverse list of influences for the sophomore offering, from Foo Fighters to Nirvana to Death Cab for Cutie. What ultimately emerges is a concoction of Smoking Popes-esque vocals, big Motion City Soundtrack hooks, Get Up Kids pianos, anthems and lyrics that would make Matt Skiba jealous, twangy Hot Rod Circuit riffs, Hold Steady honesty, and a definitive sound that is quite oft compared to the evolved stylings of Brand New (who ironically enough discovered MO).

In a recent Alternative Press article, Max Bemis even weighs in: "On the upcoming Say Anything record, I was inspired a lot lyrically by [MO's] Andy [Hull]...They are the band who will push kids to write and listen to better music."

METN is exactly that, displaying rich soundscapes of indie-emo explosiveness that bridges genres without spreading itself too thin. Universally relatable and widely acclaimed, METN debuted at #37 on the Billboard charts -- and it's easy to hear why. METN will identify a far better direction for the wayward world of indie music.

The entirety of Mean Everything to Nothing is currently streaming at Manchester Orchestra's MySpace. What nice guys.

"Are you the living ghost of what I need? / Are you giving me the best of me? / We will see."
- Manchester Orchestra, "Shake It Out"

They Didn't Last Quite as Long as the Candy

Aaaaaaaaaaaaand we're back.

For the past three weeks, it's become increasingly clear to me that Jawbreaker needs to do a reunion tour.

Do you remember when everyone criticized Michael Jordan for coming back to the NBA because they wanted to remember him at the top of his game, the way he was? And then he came back and won three more championships? He went out on top of his game, before he really needed to, just so he could maintain some sort of respect in the eyes of his fans -- and, lucky for Bulls fans, he realized there was no reason to consider himself done before it was too late.

Jawbreaker's Dear You (1995) was a classic release from a band that helped define the course of much of modern emo and punk rock, a band that also decided to vacate the scene before their time.

What was Jawbreaker's problem? No one really understood how great they were when they reached their pinnacle. True fans scoffed at the band for playing shows with Nirvana, while Nirvana fans just didn't get it the way the real fans did. To a lot of people, they were just another punk band. In some instances they were -- until the release of Dear You (polished and neatly packaged by Geffen Records). And voila! It turned out they were one of those bands that sounds better polished than they do raw. But still, no one really gave a shit.

Then, suddenly, a few years afterward, everyone gave a shit. A wave of bands began citing Jawbreaker as an influence, including Alkaline Trio, Saves the Day, Brand New, Set Your Goals, Fall Out Boy -- hell, even Face to Face covered a song on 2003's tribute album Bad Scene, Everyone's Fault.

I wouldn't be able to pick a favorite from Dear You if I tried. I could certainly narrow it down; 'Jet Black's narrative death sequence is morbidly enchanting, while 'Fireman's lovelorn stream of consciousness is equally as charming (even if the video, posted above, is admittedly not). But then again, I could listen to 'I Love You So Much It's Killing Us Both' eight times in a row.

As for a reunion -- the band is currently in the process of filming and editing (what appears to be) a documentary about themselves. I guess true art really doesn't breed true humility. But, more importantly, the guys got together and played music again.

The question remains: is it too late for Jawbreaker to reunite? Well, it sure as hell couldn't hurt to try.

" So color me obvious / I just want to be happy half the time / And blue only when I have the time."
- Blake Schwarzenbach

Climbing the Rungs on the Ladder to Respect

[love this album cover so much I had to put it up]

What's this? Brand New has started a record label?

The always-wildly evolving troubadours of despair have taken stock in the formation of Procrastinate! Music Traitors. The new label features Kevin Devine, an appropriate cross between Brand New and deceased indie mega-star Elliott Smith, as its first acquisition. Am I excited? Perhaps a more appropriate question would be, "Did Vice President Dick Cheney eat a small child for breakfast this morning?"

Nothing excites me more than when a band I hugely respect goes out and starts a label. A few examples:

Epitaph Records: begun by Bad Religion guitarist Brett Gurewitz
Fat Wreck Chords: pioneered by Fat Mike of NoFX
Fueled by Ramen: started by John Janick and Vinnie Fiorello of Less Than Jake (who left the label recently because he was unhappy about the direction it was taking)
Dischord Records: beautiful punk rock a la Ian McKaye of Teen Idles, Minor Threat, Fugazi, and various other awesome projects
Hellcat Records: run mostly by Tim Armstrong of Rancid, whom I slightly dislike for pretending to be a rock star, but still maintain some respect for
Alternative Tentacles: hell yea, Jello Biafra. You may be crazy, but you sure know how to make punk rock music.

...to name a few. And then, record labels begun by people I have little respect for and the shitty bands they sign:

Decaydance: Pete Wentz's label. An imprint of Fueled by Ramen and most likely a major reason why Fiorello left.
A-F Records: Anti-Flag's way of employing the very same indoctrination techniques they so vocally rebel against.

...to also name a few.

Why does Brand New get a spot on my list of respected bands? That's a complicated question, my friend.

2001's Your Favorite Weapon presented the pop flair of Taking Back Sunday and the lyrical despair of Alkaline Trio. It took several listens (and two years, in my case) to recognize the genius behind YFW, but it was always there.

Not until 2003's Deja Entendu did I question my musical values and re-examine YFW -- that is, after Deja had exited my disc player (several months after I'd picked it up). The lyrical sensibility was cocky and sad and excited all rolled up into one. I'd never heard music that was quite as haunting as that.

And, of course, in early 2006, Brand New dropped The Devil and God Are Raging Inside Me, which I could have bought and left in the wrapping the title had left me so satisfied.

Kevin Devine was certainly the right draft pick for the label; having been dropped by Capitol Records (Smoking Popes, anyone?) after it merged with Virgin (from here-on-forth known as 'EMI's colossal shit-show'), he was a label-less, talented young prospect with years of quality music ahead of him. His slightly off-kilter pop-mentality personifies exactly what I would hope to see out of a label helmed by the quirky boys of Brand New.

Good pick-up, gents. I'm stoked to see who you'll be drafting in the second round.

"But I've seen what happens to the wicked and proud / when they decided to try to take on the throne for the crown."
- Jesse Lacey, "Jaws Theme Swimming"