PB&Jams: Manchester Orchestra
Before their show at the Music Hall of Williamsburg this November, the members of Manchester Orchestra stood smoking on the sidewalk. My friend Hannah, with her have-no-fear and get-it-done self, encouraged me to suck up my awkwardness (something I’ve had to do on many an occasion) and talk to them. We arrived early with the intention of getting a good spot, and were greeted by a bouncer with a caring but judgmental warning — “It’s freezing, go get some coffee and come back in a bit.
Thirty minutes and a latte later, we found ourselves at the front of the line. With our tickets in hand and teeth chattering, we were listening to sound check when the band came out, as epically understated as ever.
Hannah pushed me in their direction with a reassuring smile, and all I was able to muster (while standing there shivering) was that I loved their music and I’d never gotten sick of it even though I’ve listened to their entire discography about a million times. Ugh, I know — pathetic. Where’s the reference to that one guitar riff that is always stuck in your head or the lyrics that you can’t stop thinking about when you need it?! In my defense, what are you supposed to say to your favorite band while they’re smoking cigarettes on a Brooklyn sidewalk in 30-degree weather? Not what I did, that’s for sure. I felt like the lamest groupie and turned to say goodbye, but not before my friend roped lead singer Andy Hull into taking a photo with me. I pretended to be embarrassed, but obviously I was stoked.
A friend recommended Manchester Orchestra to me after we bonded gushing about Jesse Lacey’s lyrics from Brand New’s “Sic Transit Gloria…Glory Fades” in a hallway to another friend that thought we were crazy. It wasn’t until a year or two later that I actually played through their first album, “I’m Like A Virgin Losing A Child,” and was hooked.
The band released their fourth album “Cope” in April. Below are a few of my favorites from their second and third albums and why you should go listen to them @now.
“Mean Everything to Nothing”
“I Can Feel A Hot One”
This song stands out bar none on this album with haunting lyrics and a building, eerie guitar line. According to Hull, the last part of the song is based on a dream in which his soon-to-be wife dies beside him in a car accident. The track culminates as everything but the guitar drops out and Hull sings,
Your blood was dry, it was sober
The feeling of audible cracks
And I could tell it was over
From the curtains that hung from your neck
And I realized it then, you were perfect
With my teeth ripping out of my head
And it looked like a painting I once knew
Back when my thoughts weren’t entirely intact
So I prayed for what I thought were angels
Ended up being ambulances
And the lord showed me dreams of my daughter
She was crying inside your stomach
And I felt love again
Check out the video.
“Simple Math”
“Deer”
“Deer” starts off the album with the almost explicit goal of being an introduction. It begins with what seem to be references to touring and thoughts of people back home with lyrics like,
You’re probably just too busy with your work
Or am I just excusing you for leaving me alone?
There’s nothing in these wooden drawers to bring you back
To keep me bored
I don’t know what to do with me no more
Toward the end it comes off like a letter with tinges of pleas for forgiveness as Hull sings, “Dear everyone I ever really knew.”
“Simple Math”
The title track is trance-like perfection starting with declarations like, “I wanna rip your lips off in my mouth,” and rapidly turning into a string of questions,
What if you were crazy would we have to listen then?
What if we’ve been trying to get to where we’ve always been?
What if I was wrong and started trying to fix it?
What if you believed me: everything is brilliant
Check it out live here