Manchester Orchestra - Simple Math
Rating
RIYL
Biffy ClyroBrand New
Bad Books
Dead Confederate
Release Date
05/10/2011
Tracklist
1. Deer2. Mighty
3. Pensacola
4. April Fool
5. Pale Black Eye
6. Virgin
7. Simple Math
8. Leave It Alone
9. Apprehension
10. Leaky Breaks
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Manchester Orchestra struck the big time with their sophomore effort Mean Everything to Nothing, propelling them to new heights, astounding acclaim, and sold out tours. Their new found success was well deserved, as that album proved to be one of the year’s best. Oft considered to be a near masterpiece, the question remained… could Manchester Orchestra top that record or would they forever be looking to recreate the magic of that time. The band has answered the question with Simple Math, an emphatic statement proving these guys just keep getting better. The Atlanta, GA based quintet is pushing boundaries previously explored in every direction, demonstrating there is little they can’t do in the process. Frontman Andy Hull, arguably one of this decade’s finest storytelling songwriters, is more vulnerable and earnest than ever, as Simple Math revolves around the concept of his near-divorce and the resulting emotional turmoil. The album itself, however, doesn’t lament for too long, as the musicianship really has grown into a beast of another nature, pushing the album into enormous crescendos and haunting compositions. Flirting with prog rock structures and the gorgeous addition of strings on more than half the album, Manchester Orchestra continues to stun their fans with new tricks and unexpected twists. Simple Math offers a far less immediate quality than the massive hooks of Mean Everything to Nothing, but repeat listens are increasingly rewarding.
The album opens with the slow drifting “Deer,” a somber exploration of Hull’s inner thoughts over an ominous whirring backdrop and woozy guitars. “Mighty” is just as the title suggests, arriving with a big overdriven guitar tone, a pulsating rhythm, and a particularly scornful vocal delivery. There isn’t much of a hook, but that doesn’t stop the band from bursting into the song’s bridge with an epic string section, igniting the fuse and gloriously exploding. “Pensacola” has a happy-go-lucky melody offering what is certainly the most accessible moment of the album. Hull sings, “I am the greatest man that never lived, and now I never sleep, I never lost a fight, but never knew I started one the same,” as he describes the inevitable effects of constant touring on his marriage. The song bursts into an unexpected gang vocal chant, propelled even further with a brief horn section and layered guitars.
“April Fool” strikes with a Led Zeppelin-esque guitar line and a commanding vocal performance from Hull as his gorgeous melodies wander into raw enthusiastic hollering. Drummer Tim Very explodes with a deep bruising rhythm, and the entire song encapsulates all of the ingredients of a future classic. Hull shouts, “I’ve got that rock and that roll, I’ve come around this time to set fire to your homes,” and it's apparent Manchester Orchestra mean business. “Pale Black Eye” offers an interesting stop-start rhythm and a slow rise towards intensity, thrust to greater heights with the reappearance of the string section. After touring with Biffy Clyro last year, it is highly possible their penchant for combining strings and odd time signatures has rubbed off on Manchester Orchestra, evident at the song’s finale. “Virgin” is without a doubt the album’s finest moment and one of the strongest songs released so far this year. The haunting hook is doubled with Hull joined by a choir of children, offering a creepy “Another Brick in the Wall” type vibe. The song builds with gradually dense layering and the guitar’s grungy tone only fuels the fire. Strings take control during the bridge as the choir roars in with the magnificent hook before Hull lets loose on his own.
“Simple Math” is a beautiful introspective ballad built upon sweeping strings and angular echoing guitars. Hull’s vocals sound powerful and hopeful as he questions the necessity of their quarreling over a monstrous post rock structure that blasts from soft to loud and comes to a crushing crescendo just before release. “Leave It Alone” dives back into the heart-wrenching depression of the whole ordeal, opening amid cloudy distorted vocals that emerge victorious with the introduction of the rhythm. Hull sings, “So take me alone, cause if it’s not with you, I’ve got no place to go,” and his desire to reconcile becomes evident. “Apprehension” is easy going as lead guitarist Robert McDowell channels his inner David Gilmour, resulting in a spacey atmospheric riff. The song is aggressive yet serene and calming, while multiple layers shine individually but fit together clutter free. The lazy aura of “Leaky Breaks” closes out the album with a gentle and somewhat apathetic ballad, a respite from the grandiose nature of everything leading up to this point. McDowell’s stinging guitars sit stunningly suspended in air just beneath Hull’s vocals as the band wind down to Simple Math’s close.
Manchester Orchestra has once again offered up a strong contender for album of the year, and their meteoric rise that began a few years ago only looks to continue.
--Dan Goldin
Comments
Coopersburg, PA
I didn't like this album after the first few listens, but it's growing on me and does take some time to appreciate. Compared to the last album, the music seems more simplistic and less aggressive to me, but the songwriting is better, more focused, and cohesive. I'm not a big fan of the last few tracks though - 8, 9, and 10 - as they all kind of run together and don't stand out as much as the previous ones, which is why my rating is slightly lower than yours.
Lehigh Valley, PA
These guys bore the hell out of me.
San Francisco, CA
not really digging this one as much as the last. i feel they lost their edge and as nicholas pointed out, definitely not as aggressive both musically and vocally.
Brooklyn, NY
not as immediately aggressive but I feel as though what they lost in aggression they made up for in brilliant songwriting and structuring.
www.explodinginsound.com
Coopersburg, PA
Yeah, I'm not saying it's a bad thing, just different and took some time getting used to. The songs are tighter and better written for sure; over time, I may bump this up to a higher rating, but it's a solid 4/5 after about five listens.
Dallas, TX
Totally agree. Mean Everything to Nothing was my favorite album of 09 and although this is not as impacting on first listen it's just as good and different enough while still maintaining their signature style. I will be jamming this for a long time and will most definetely be in my top list at the end of the year.
Sunshine Coast, Australia
needs a Pride riff, it needs that signature aggression... even 'Losing a Child' had some of that raw energy they nailed in 09. But this is still a quality swag of tunes.
"If you want something done right, get a fucking Australian band to do it" - Chris Cheney
Sunshine Coast, Australia
pay no attention to the man in the pink polo.
"If you want something done right, get a fucking Australian band to do it" - Chris Cheney
I agree that this album is one that needs a couple of listens to get the full effect of it.
Lehigh Valley, PA
Pink polo? I'm confused.
Sunshine Coast, Australia
I've changed my mind, this album is fucking killer... the aggression is still there - just more focused.
"If you want something done right, get a fucking Australian band to do it" - Chris Cheney
Coopersburg, PA
Same here; I bumped my after listening to it some more this past week and watching their Letterman performance. I like this album better than the last one.
San Francisco, CA
definitely having the same feeling. the more i listen to it, the more i'm liking it. still not more than their last, but it's definitely up there
Somewhere in New York
It's weird. Because I love the first four songs on Mean Everything to Nothing more than I like all of this album. But Simple Math as a whole is better than the last one. Because Mean Everything to Nothing's second half doesn't really impress me. But nothing they've ever made has given me the chills like "Virgin" does. Except maybe "Where Have You Been?"
"If someone gives you a kazoo and toots around the house to MTV, they're not gonna fuck you." - David Cross