mewithoutYou - "Every Thought a Thought of You" (2009)

mewithoutYou have always been a pretty polarizing band. From first the first listen of their 2002 debut [A-->B] Life, it’s clear that they march to a slightly different drummer. The most distinctive thing about mewithoutYou early on was front man Aaron Weiss’ vocal approach of half speaking/half yelling his lyrics. Imagine intense spoken word poetry set to heavy guitars. The band progressed this sound on their sophomore effort Catch for Us the Foxes, becoming a little more accessible with the addition of memorable melodies here and there. Even so, mewithoutYou were still in a league of their own. No band was or is currently doing anything like that. Their 2006 record Brother, Sister was more along the lines of Foxes, but furthered their experimentation with the addition of a few instruments. Weiss even saw fit to actually sing on a few tracks and it wasn’t half bad. It furthered solidified them as one of the most original bands in the scene. Many were anticipating the release of mewithoutYou’s fourth full length, wondering whether it would be a maturation of the sound they had come to love or if it would be a reinvention of sorts. The band fueled more speculation by choosing to work with producer Dan Smith, best known for his work with neo-folk favorites Danielson and Sufjan Stevens. The result is the verbosely titled It’s All Crazy! It’s All False! It’s All a Dream! It’s Alright. The title as well as many lyrical themes come from the teachings of former Philadelphia based Sufi mystic Bawa Muhaiyaddeen which is interesting considering the fact that mewithoutYou had always embraced heavily Christian themes on their previous records. Lyrically, the record is still quite spiritual and has Christian themes throughout, however it seems much more vaguely defined and more about love and God’s creation in general instead of Christianity per se. Musically, mewithoutYou step out on many limbs to which they have previously not ventured. Gone is the notion of two guitars, bass and drums making up an entire song and instead the band has expanded their sound with all sorts of horns as well as wind and stringed instruments. This record is without a doubt a total departure from the mewithoutYou of the past. Weiss’ signature vocal style is all but gone and replaced with a more timid singing style, save for “Bullet To Binary (Pt. Two)” which is a lyrical call back to “Bullet To Binary” from [A-->B] Life. Personally this record has been difficult for me to get into. I have always been a fan of bands reinventing themselves and not making the same record twice, but I feel like mewithoutYou took the concept a little far with It’s All Crazy!.... The album is still quite good but it lacks the originality of their previous efforts in that it sounds like what a lot of indie bands are doing these days as opposed to the fresh sound that mewithoutYou had created all on their own. That being said, the record is not without bright spots. Today’s song is the lead off track and is less of a departure than some, except maybe for the keyboards. Weiss even rattles off some Arabic as he did on a few tracks from Brother, Sister. mewithoutYou are still a great band, but I just think this record will be one that will divide some long time fans.


mewithoutYou - "Every Thought a Thought of You"

Paper Route - "Wish" (2009)

Paper Route are innovative electro-pop band from Nashville that quickly became one of my favorite new artists last year. Their EP Are We All Forgotten was in constant rotation for me for the latter half of 2008. I was eagerly awaiting the day they would finally release their first full length record. At the end of April the wait was over and Paper Route delivered in a big way with Absence, a diverse collection of 12 songs that find the young band at their strongest. The vocal combination of keyboardist/percussionist J.T. Daly and guitarist Andy Smith is seamless and works incredibly well with the music. Lyrically, Absence focuses heavily on failed relationships and can at times be overwrought with emotion, but I think that at least makes Paper Route honest. There’s also a distinct spiritual element to some songs such as “Are We All Forgotten” and the epic closer “Dance On Our Graves,” in which Daly sings “Will I know it when I see it? Will I know it when you’re here?” and is then accompanied by a beautiful string and drum breakdown which is the perfect close to the record. Musically, the album ranges from piano heavy tracks like the opener “Enemy Among Us” to the more hip hop-esque “Gutter.” There’s truly something for everyone here. In my opinion, Paper Route are at their best when combining all of these elements, such as on the heavier lead single “Carousel” which also features a good deal of electronics and is high energy with a catchy piano line throughout. Today’s song was one that stood out the first time I heard it when I saw the band live about a month before Absence released. I recognized it immediately after hearing it on the record and found myself singing along before the end. “Wish” is a great example of everything Paper Route does well, from the excellent dual vocals to the meshing of guitar rock and electronics, it’s just a fantastic song.


Paper Route - "Wish"

Jon Foreman - "Your Love Is Strong" (2008)

Jon Foreman is a name you probably recognize by now. He’s made his name in the last 15 years as the front man of San Diego Christian rockers Switchfoot. I’ve been a Switchfoot fan for years, but I was a little late to the party when it came to getting in on Foreman’s recent solo ventures. Beginning in the Fall of 2007, Foreman ambitiously released four EPs, one for each of the four seasons and titled them Fall, Winter, Spring and Summer. The music and lyrics of each of the EPs somewhat mirror the mood of the season of the disc on which they’re included. Each of the EPs find Foreman far more stripped down than anything he’s done in the past with Switchfoot. The songs rely heavily on the acoustic guitar but also include all manner of stringed instruments and even a few keys and horns here and there. All four EPs are worth checking out but Foreman simplified things a bit for the casual fan and released Limbs and Branches, comprising choice cuts from each of the EPs as well as two new songs. Today’s song is one of my favorites of the whole collection and is basically a paraphrase of the Lord’s Prayer. It’s a simple reminder that no matter how out of control we may feel about our lives, God’s love is strong and that is enough.


Jon Foreman - "Your Love Is Strong"

Superdrag - "Sucked Out" (1996)

Superdrag are a band that are considered by some be one of the original purveyors of power pop, an extra catchy brand of rock and roll. The band saw some success in this genre with their 1996 debut Regretfully Yours. I’m actually a tad embarrassed to say that I was ignorant of Superdrag’s existence until just a few years ago when I came across today’s song on an online list of favorite 90s songs. I was somewhat familiar with front man John Davis, having played a track from his 2005 self titled solo debut on college radio, but I was unaware of his roots. I checked out this song and blown away by it’s catchiness and wondered how I had missed it before. I especially love the line “look at me, I can write a melody, but I can’t expect a soul to care.” The band released a few more records before going on hiatus in 2003. They recently reunited to release Industry Giants on their own label earlier this year. I haven’t checked out any of that, but I find myself going back to this song every now and then when I need about three minutes of fun.


Superdrag - "Sucked Out"

fun. - "At Least I'm Not As Sad (As I Used To Be)" (2009)

fun. is the new project of former Format singer Nate Ruess. The Format were one of my favorites in their time, but sadly called it quits after just two amazing records. I was excited to hear that Ruess was again working on music, this time with the help of Steel Train guitarist Jack Antonoff and former Anathallo multi-instrumentalist Andrew Dost. The band just finished up their debut full length entitled Aim and Ignite and it’s due for an August release. They are currently on tour supporting Manchester Orchestra and I had the good fortune of getting to see them last week. fun. put on an amazing high energy show with excellent musicianship and harmonies galore and it certainly whet my appetite for the new record. They even threw in a few Format songs just for good measure and they were amazing. Today’s song was excellent live, as Ruess taught the crowd the incredibly catchy chorus before they began and everyone was singing along by the song’s end. The band put this song up for free download a few months back and have since taken it down but it can be streamed on their myspace page. I usually don’t post songs from records that aren’t already out but I wanted to give you the jump on this one so you can be ready for Aim and Ignite when it comes out in a couple months. Trust me, you’re gonna want a copy after you hear this.


fun. - At Least I'm Not As Sad (As I Used To Be)

The Decemberists - "The Wanting Comes In Waves/Repaid" (2009)

The Decemberists are an excellent indie rock band from Portland, OR and one of few indie bands in recent years who have managed to make the jump to a major label without compromising their sound. In 2006 they released The Crane Wife, an album full of story songs that musically ran the gamut from folk to prog rock and lyrically encompassed everything from a Civil War era love song to the Japanese folk tale on which the three part title track was based. The literary lyrical leanings of front man Colin Meloy have taken even further flight with The Decemberists’ recently released The Hazards of Love which can best be described prog rock musical theater. Throughout 17 tracks including preludes, interludes and reprises, Meloy weaves the story of doomed lovers William and Margaret and the evil Rake and the Queen that try to foil them. You make think this all sounds like pretty heady stuff and you’d be right, but the Decemberists have a way of making it all work. The band turned up the distortion a great deal on this record with songs like “A Bower Scene” as well as today’s tune, but that’s not to say they’ve forgetten their folksy side. There is a seamless transition between nearly every track, giving the listener the sense of one giant song. Several riffs and melodies are repeated throughout the record in different songs giving it a pretty consistent theme. Since the songs work so well together, some of them just seem odd outside of their original context, which could hinder the accessibility factor of The Hazards of Love, but long time Decemberists fans won’t be disappointed. Though this record can be a tad eccentric in places, it’s filled with solid songwriting throughout and that is evident in today’s song. The excellent portrayal of The Queen comes from Shara Worden of the band My Brightest Diamond. Her voice plays well against Meloy’s and coupled with an outstanding guitar riff, it gives the song a great classic rock feel. I can’t say that everyone would like this album, but if it’s approached with an open mind, there are some really great songs to be found here.


The Decemberists - "The Wanting Comes In Waves/Repaid"

Jars of Clay - "Scenic Route" (2009)

Jars of Clay have consistently put out excellent music ever since their self titled debut came out nearly 15 years ago. “Flood” was of course their big hit and one of the first times a “contemporary Christian” band crossed over to the pop charts. Many casual fans may have written them off as a one hit wonder after that, but they’ve continued to release quality albums again and again. One thing that I’ve always loved about this band is their ability to change their sound completely from album to album and yet still sound like themselves. On 2002’s The Eleventh Hour, they delved into a more straightforward rock sound than they had before and then turned the tables one year later, releasing the heavily acoustic Who We Are Instead. Each was great in its own right, marked by front man Dan Haseltine’s unique voice and lyrical deftness. The band made a huge stride forward in 2006 with Good Monsters, an album that found them more guitar heavy than ever with songs like “Work” and “Dead Man (Carry Me).” That album was excellent and when looked at in retrospect, one can see that it laid the groundwork for what would be The Long Fall Back To Earth, the latest album from Jars of Clay. The band are at the top of their game here on their poppiest record to date. There is a thread of 80s influence that runs throughout The Long Fall, from Charlie Lowell’s keyboards to the chorus and delay effects on the guitars from Steve Mason and Matt Odmark. Lyrically, the songs deal more with relationships than on previous Jars efforts where the focus is usually in relation to God. That’s not to say that Jars are heading away from their Christian roots. After all, God did create human relationships too and they are worthy subject matter. “Closer” is a great love song that really wouldn’t be out of place on pop radio right now. Other highlights include “Boys (Lesson One)”, a song from a father to a son and “There Might Be a Light,” a plea to an unrequited love interest. Today’s song is a standout for me because of its great lyrics and catchy melodies. It’s a little slow to start, but the payoff is worth the wait. The beauty of The Long Fall Back To Earth is that long time Jars of Clay fans will not be disappointed, but even if you haven’t liked them much in the past, there is enough difference in the sound of this record to make it worth a shot. Check it out and see for yourself.


Jars of Clay - "Scenic Route"

The Gaslight Anthem - "Miles Davis & the Cool" (2008)

The Gaslight Anthem are a rock band from New Brunswick, NJ. It would be hard for any classic rock fan to listen to them and not hear a lot of influence from their fellow New Jersey native Bruce Springsteen. That’s not to say they’re trying to emulate The Boss, but it’s safe to say he’s probably a staple in their record collections. What I’m about to say may not make any sense but try to follow me when I say that The Gaslight Anthem bring to mind blue collar rock and roll. Front man Brian Fallon has a gravel and earnestness in his voice that makes me think he just got off his shift at the factory and now he’s playing his songs in a dive bar because it’s what he truly loves. The '59 Sound has a definite older sound to it but it’s hard to place it in any one decade or era. There is definitely some 50s and 60s influence as the title would indicate, but that’s not entirely it. Any fans of the Killers will also see a resemblance of Fallon’s vocals to those of Brandon Flowers. The album is full of gems throughout but today’s song is one of my favorites.


The Gaslight Anthem - "Miles Davis & the Cool"

Manchester Orchestra - "The River" (2009)

There are few bands that I absolutely geek out for. There are some that I feel the need to own every last EP, import single, and compilation track to truly have everything that band has ever done. Even though they are a relatively young band with only two full length records under their belt, Manchester Orchestra has become and will forever be one of those bands for me. I first became acquainted with them nearly two years ago after witnessing them play “Wolves at Night” on Letterman . (There is actually good music on TV sometimes.) Shortly thereafter I fell in love with their debut I’m Like a Virgin Losing a Child. There was rarely a week for the next year that I didn’t listen to it in its entirety. Last fall when they posted the “I Can Feel a Hot One” from their Let My Pride Be What’s Left Behind EP, I probably listened to it 10 times a day. I may be coming off a little obsessive, but there’s just something about this band that grabbed from moment one and I haven’t been able stop listening. Needless to say, their sophomore album Mean Everything To Nothing was at the top of my most anticipated list. When April 21 finally rolled around I was ready to be blown away and Manchester Orchestra did not disappoint me. Right out of the gate, “The Only One” brings more raw energy and distortion than any of their previous work and you know you’re in for a ride. As lead singer/guitarist/lyricist Andy Hull proclaims “I am the only one that thinks I’m going crazy and I don’t know what to do,” you can’t help but believe him. This record is undeniably epic and that is quite evident in the dynamic shift in the last two minutes of “Shake It Out.” The first single “I’ve Got Friends” is excellently punctuated by a memorable piano line courtesy of Chris Freeman and one of the strongest songs lyrically, with lines like “The dirtier the sound the best I breathe, I tried to do it all for you it didn’t do anything for me.” In a scene that has so long been lyrically hung up on the dissolution of relationships and the same old “boy pining for girl” whining, Andy Hull is putting everyone to shame with honest lyrics about friendships, pride, abuse, wrestling with God and everything in between. Today’s song is the perfect album closer and does a great job of summing up everything you just experienced beforehand. “The River” is Hull’s desperate plea of repentance as he sings “Oh God I need it, I was wrong again. Take me to the river and make me clean again.” The last verse is a paraphrase of old hymn “Come Thou Fount” where Hull speaks of being prone to wander as he sings “I’m gonna leave you the first chance I get.” That’s the kind of lyrical honesty that isn’t often found even in “Christian” music. Musically, Mean Everything To Nothing is very much a rock record and should put to rest any claims that Manchster Orchestra were ever “emo.” They show influences of everyone from Nirvana (“In My Teeth”) to Pinkerton era Weezer (“My Friend Marcus.”) Still there are several songs that can only be seen as Manchester Orchestra tunes. They have truly solidified their sound on this album and in my opinion it should be considered among the best records of the decade and one that will define their career. I haven’t been able to stop listening. You need to start.


Manchester Orchestra - "The River"