Moneen - The World I Want to Leave Behind
Rating
RIYL
ParkThrice
The Receiving End of Sirens
Release Date
09/15/2009
Label
Vagrant RecordsTracklist
1. "The World I Want to Leave Behind" – 1:572. "Hold That Sound" – 3:54
3. "Great Escape" – 3:12
4. "Believe" – 3:30
5. "Redefine" – 3:19
6. "The Way" – 4:17
7. "The Long Count" – 3:53
8. "The Monument" – 2:42
9. "Waterfalls" – 3:51
10. "Red Eyes" – 4:09
11. "Lighters" – 4:09
12. "The Glasshouse" – 6:09
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Moneen is the sort of band that doesn’t get enough respect. Their previous releases The Red Tree and Are We Really Happy With Who We Are Right Now? were critical darlings and were mentioned by anyone who wanted serious under-the-radar cred. However, the albums didn’t sell that many units, and the band doesn’t ever really get to headline tours (not in the US at least). So is The World I Want to Leave Behind another masterpiece from the Canadian quartet? Will it, like all their other unequivocally brilliant albums, go under the radar of most?
Although Moneen has always had a flair for the subtle and melodic, the listener has always had to wade through some heavy music to hear the ambient bells and whistles. While the band definitely maintains some of their trademark quirky heaviness on The World I Want to Leave Behind, they have definitely turned their reckless meter down a notch. Much of their early work had a frantic and frenetic feel, and while it was always enjoyable, it often left this listener with a feeling of having been pummeled with ideas. This album still has hints of that bludgeoningly technical showiness on it, but songs like the post-rock leaning “The World I Want To Leave Behind” and the slightly Coldplay-esque “Believe” show a band that has decided to fully embrace the hot-and-cold aspects of their songwriting in a more calculated and intentional manner. In a delicate balancing act, Moneen has been able to balance some of their hardest songs with moments of fragility and beauty, such as in the transcendent closer “The Glass House,” which begins with screamed verses over a heavy soundscape and ends with a choir and delicate pianos. The song is a sheer joy to hear and gives the feeling of having gone on a rewarding journey.
This isn’t to say that Moneen has completely gone the way of bands like Thrice who, while talented, have segregated much of their songwriting into defined sections. “Hold That Sound” and “The Great Escape” are vintage Moneen, with their dizzying and layered guitars, virtuosic drumming, and vocals varying from pristine harmonies to shouted yet catchy choruses. Vocalist Kenny Bridges displays his vast emotional vocal range in the ballad “Waterfalls” where his voice gives the feeling that he is trying his best to stay strong despite the temptation to bawl his eyes out. “The Long Count” has the dirtiest, grimiest guitar tone I’ve ever heard, which soon moves into a distorted heaviness complete with stabbing, violent rhythms. But in what has become the band’s trademark, there are some deceptively melodic twinkling guitar tones and pretty harmonies buried underneath their heavier sections. Spread throughout the entire album is the band’s ever-present use of feedback, effects squeals, and random noises, but these are supplemented by more melodic surprises of xylophones and subtle, intricate vocal harmonies.
In regards to the questions posed earlier in this review, the good and bad news is that the answers are both yes. Moneen has created another album that will leave serious music fans salivating. On The World I Want to Leave Behind, the band has created an infinitely compelling juxtaposition of heaviness and ambience, strength and fragility, muscle and beauty. The band is clearly in their stride and has crafted one of the most gracefully lush and deep albums in recent memory. But as great as this album is, it is most likely too much quality for the average music listener to digest. It is a shame that Moneen most likely won’t get widely noticed for creating one of the best albums of the year. If there is any solace to be found in this sad reality, it is that the best-kept secret in rock music will still be “your” band for at least a little while longer.
--Stephen Harris
Comments
Minnesota
That's quite the rating. I agree that this is an extremely solid album (reminds me of Local H at times for some reason... I think it's the vocals), but I don't think it quite excels to a 4.5 level. From the first couple of listens, I'd probably go with a 3.75 or so. Maybe it'll grow on me even more. Who knows.
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Baltimore, MD
Nothing really blew me away on this record. Didn't hate it but I doubt I'll listen to much more of it, if at all.
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Washington, DC
I didn't enjoy it much at first either. But when I took it for review and started to listen to it through headphones, it eventually clicked and hit all the notes for me. Headphones are an essential for this album.
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