When former Something Corporate singer Andrew McMahon released his first solo album under the Jack's Mannequin monicker in 2005, it was under less than favourable circumstances. A few months previous, he had been diagnosed with acute lymphoblastic leukaemia, and was given the decision to release the album while ill and not tour, or postpone it indefinitely. He made the decision to put out the album, "Everything In Transit", and it was instantly heralded as his best work by critics, and sold very respectably, hitting number 37 on the Billboard charts. The album, very strangely, contained harrowing foreshadowing of his soon-to-be discovered illness in the lyrics and occasionally sounded very ominous; despite the album being an anthemic, summer pop record. Despite the odds, he eventually recovered, and it was soon to be clear that "Everything In Transit" was not, as was possible, to be his swan-song.
On the first anniversary of his diagnosis, he mustered the strength to play a charity benefit show, and from that point onwards, it was only a matter of time, recovery permitting, that he would return to music. In his first album since his health struggles, 2008's "The Glass Passenger," he breached his time in hospital with unwavering confidence, and on 'Caves', the album's highlight, painted a picture of powerlessness and despair that was painfully vivid, and more importantly, honest. The album was patchy - it left many fans disappointed - however it had such good moments on it, that there was no love lost for the still fledgling singer/songwriter.
The first striking thing about the new album, "People and Things" is the layered, prettiness of the whole thing. There is not a moment without bright pianos and keys, and there are seemingly infinite layers of strings blanketing each song. The treatment given to the album in the studio is so thorough that every moment of pessimism in the lyrics seems to have it's own little musical counterpoint. "Amy, I" holds one of the biggest hooks of the album, and is, aptly, slated to be next single. The song is in many ways a perfect still capture of the album. Both the record's strength, and weakness is in it's pop sensibility - too often is creativity and lyrical substituted for a simple melody and a catchy chorus. Andrew himself admitted that "Amy, I" was just a random phrase that came to him while writing - which begs the question; where are the considered epithets seen in past releases? On one of the album's highlights, "Hey, Hey, Hey (We're All Gonna Die)", the old magic is recaptured, and in one of the rare moments where it doesn't sound like a pop-rock band, we're reminded of what this project actually is - Andrew musing thoughts sung over his piano. Referencing his previous album, and singing "Keep your eyes on the road, I'm the glass passenger, and I sing for a travelling band." it is one of the most poignant moments on the album. The fact that this song feels nostalgic and makes you look to the past, not to the future, both shows how far they've come, and, sadly, how far they've strayed. The following "Amelia Jean"and "Platform Fire" keep the standards high, before the record stumbles into the last three tracks which seem soft - sentimental numbers that don't quite strike home.
This album is literally soaked in unabashed emotionalism - there is not a moment where Andrew does not decry a relationship in his life, or a moment of revelation. It is positive on his part - it looks to the future, but is firmly rooted in issues, self-doubt and relationship stories. Nothing more is a testament to this than the opener "My Racing Thoughts", on which he discusses his relationship with his wife, and how she understands him and his troubles unlike anyone else. It bursts with melody, though leaves you feeling a bit shortchanged by the end. The chorus feels flat, and the relentless guitar and keyboard melodies are overindulgent and not as strong as previous singles. "People, Running" has pace and drive, and is most likely a take on his hectic touring schedule, and looking on life from the outside. It is most certainly a mood album; an album you can live in for it's duration. The music is consistently satisfying; there is no doubt to that. It's problem lies in the weakness of a few of the tracks, and the general feeling that there could be more to it all. They still sound very much the same, and considering that many a year has passed since their last release, you'd hope that they would have something fresher, and more exciting to offer.
It is a beautiful thing, his recovery, and life without Jack's Mannequin, for many people, would be a huge loss; important music; important songs missing from their lives. But it all harkens back to the greatness of his debut, Everything In Transit, and the comparison that you cannot help but make. It is almost impossible for Jack's Mannequin fans to not put any new material in context, and there is a generalised feeling of fans every time a new album is put out; apprehension and pessimism; that it may not be able to hold a candle to the aforementioned album. There is a lot to this album - it sounds great, it has fantastic hooks, and there is depth to the songs, both in the music, and in some of the lyrics. But there is the feeling that it is incomplete, and lacking the satisfaction of previous releases. The Glass Passenger was promising, and if this album is what they've been promised, it, so unfortunately, falls a little short. That said, this album is affecting in a way that many other albums released this year have not been, and addictive; a soundtrack that is extremely nice to have in the background as you move around, on journeys and home alone. Like many others, I still believe that there will be a magnum opus from Andrew McMahon in future years. It's important to remember that disappointment does not equate a poor performance, and out of context, this is a great album that just seems to keep growing. Recommended. 4/5
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