The newest album by Manchester Orchestra draws attention to its uniqueness with its album artwork. From the bright pink to the computer generated element, it continues the surrealistic element of its previous release’s artwork, bringing the black and white scheme to a more modern feel.
The music does that too.
Manchester Orchestra has expanded their sound with every release, and have definitely matured as well. Their debut feels dated, from its Polaroid album cover, to its simple production. But the band has always been driven by singer/guitarist Andy Hull’s sense of melody and unique turn of phrase in his lyrics.
Mean Everything to Nothing continued this sound, Simple Math showed its improved production with a greater focus on layering, and Hope and Cope showed the two sides of the band, the hard rock (almost sludgy) interpretations and the stripped down acoustic interpretations of the same songs.
A Black Mile to the Surface was their most cohesive album, with a flow, a mindset, and a purpose. This took their live shows to the next level. Big production, expanded lighting, and some of the most powerful and clear mixes I had heard in years. They utilized this mentality, for their next release.
This album feels like the most pop, produced, and mainstream sounding thing the band has ever done. This might be an instant turnoff for some people who will accuse the band of selling out. But with repeated listens, you realize, there is a lot to uncover.
The album was inspired by the death of a family member, and deals with acceptance, the transition of body and spirit, the afterlife, and hope. This may not be instantly apparent. Despite its more electronic focused sound, simple chord progressions and structures, and familiar techniques with vocals and keyboards, this album doesn’t immediately jump out at you in terms of catchy choruses. Andy’s usual unique lyricism isn’t as obvious either.
The band has expressed that like a movie, it is supposed to be listened to in one sitting. And because of its concept album tendencies, lyrics, themes, melodies, and ideas are repeated. That explains why it initially felt blurred together.
But their previous album had great flow and still had a strong sense of individualism for each song! So why wasn’t this jumping out at me yet?
I knew it sounded good, but after a listen, couldn’t remember any hooks.
This is because the band deliberately wanted to avoid the individualism of the songs. It truly is the opposite of its previous release. Only in understanding the flow of the album, do the themes and catchy melodies reveal themselves, and that is when the album is most enjoyable.
Starting with the big opening of “Inaudible”, the church like vocals sound huge, especially when the rest of the band comes in. This feels more like the beginning of a play, rather than a movie, and transitions into the darker “Angel of Death” which starts with the kind of wordless vocals you’re use to on the radio these days. The driving rhythm hits a big chorus, and reminds me very much of one of my favorite bands, The Dear Hunter.
“Keel Timing” is the funkiest song the band has ever done, and let’s the infectious groove be its main focus. “Bed Head” builds off of its rhythm and melodies while returning to the darker tone of the “Angel of Death” verse. The industrial and electronic tones, high harmonies, and chorus have gotten stuck in my head over and over since first listen. Definitely a highlight of the album.
“Annie” follows with a simple delivery, and brings the album down for its gorgeous first ballad “Telepath”. A short acoustic driven piece, this might actually be the first melody that sticks in your head upon first listen.
“Let it Storm” starts as a ballad that while it doesn’t get heavy, has a profound full band hit in the chorus, while “Dinosaur” has an electronic vibe that reaches a hard-hitting climax towards the end. “Obstacle” follows suit of “Let it Storm” and it’s clear there’s a deliberate reason that the album starts heavier and darker and ends softer and more beautiful. It represents the transition of life, and the acceptance. It strays from the questioning, doubt, and fear, and has a nostalgic certainty. It’s absolutely beautiful.
“Way Back” continues this and lulls the listener, not to sleep, but more like through a trip in the clouds. And this all sets up the final “The Internet”, which reminds of their previous album closer “The Silence”. While it never reaches the same climax of that one, it see similarities in melodies and lyrics, as well as it’s airy and twangy guitar tone. It ends with an allusion to “The Boy Who Cried Wolf”, something that has made appearances throughout the album.
It’s a fickle album in who it will impress and who it won’t. People who like the band already will like it with repeated listens, and people who like pop music will like it, as it is their most accessible album to that group. But to certain fans of rock who have not gotten into them yet, this might not be the best choice of an introduction. The mainstream elements might be a turnoff, and they might do better to come back to it after they’ve experienced previous albums (Cope and A Black Mile to the Surface for the rock and metal fans, their first two and Hope for the acoustic or indie crowd).
That being said, there’s enough to digest here that it is a rewarding album with repeated listens. It is fun to connect the dotes in terms of shared lyrics and melodies between songs. There’s enough to appreciate in terms of beautiful melodies, production, and thought-provoking lyrics. And these songs are gonna feel huge in a live setting.
It may seem repetitive at first, but I implore you to give the album another try if it wasn’t for you on first listen. It might not be the catchiest album they’ve done, but it is an excellent step for the band in terms of pushing themselves and will reward them with acclaim and popularity in the long run.
View of the Sunrise 