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Artist...: Manchester Orchestra
Album....: I'm Like A Virgin Losing A Child
Genre....: Indie
Label....: Favorite Gentlemen / Canvasback
Lang.....: English
Year.....: 2006
Source...: CDDA
Rip.date.: 07-16-2017
St.date..: 03-14-2006
Encoder..: FLAC 1.3.1
Quality..: 834 kbps Avg 44.1kHz 2 channels
---- + Track List + ---------------------------------------
01 Wolves At Night 4:03
02 Now That You're Home 3:07
03 The Neighborhood Is Bleeding 2:48
04 I Can Feel Your Pain 2:53
05 Where Have You Been ? 6:16
06 I Can Barely Breathe 4:58
07 Sleeper 1972 4:08
08 Golden Ticket 3:32
09 Alice And Interiors 4:21
10 Don't Let Them See You Cry 1:42
11 Colly Strings 5:57
Total Size.: 11 Files/278.0MB/43:45 min
---- + Release Note + -------------------------------------
With a heavy heart and looking straight at you with cutting
eyes, Virgin is a thoroughly worthwhile and affecting affair
from start to finish.
Argh, emotion. It's difficult to find music entirely removed
from it, but it's rare to find a record so submerged in human
feelings that it eclipses any notion of technical proficiency or
originality. They exist, though: Transatlanticism, In The
Aeroplane Over The Sea and the more recent For Emma, Forever Ago
all stand proudly as examples of heavy, gut-wrenching
songwriting made potent by the moods that their themes and
atmospheres evoke as opposed to any particularly impressive
musicianship or creativity. I'm Like A Virgin Losing A Child
sees Manchester Orchestra attempt the same: emotive, dramatic
and lyrical, it sets itself up to hit harder every time it
swings.
The 3 aforementioned albums incidentally serve as suitable
reference points for Virgin, in different ways: Aeroplane's
simple acoustics tinge mellow tracks like I Can Feel Your Pain;
the soundscapes of Emma have their roots in the same bleak,
atmospheric mindset as Sleeper 1972; and the range of approaches
on offer reflects to a tee the indie-rock aesthetic of genre
giants Death Cab For Cutie, especially as Where Have You Been?'s
intro reveals its nostalgic, downbeat piano. Delivered with
efficiency, these varied tactics have their origins in obvious
places dotted around the last two decades' indie, picking and
choosing from everything between Pavement and Elliott Smith.
These influences are not directly copied, but they're hardly
reinvented.
As Virgin plays out, though, it rarely sounds trite, and never
cliched, and there's a reason for it. Vocalist Andy Hull is
another example of patchwork inspiration, sometimes recalling
Jesse Lacey (I Can Barely Breathe), at other points conjuring
Brian Molko (Wolves At Night) and at his softest resembling Nate
Ruess, but always eerily sounding like himself. His accent and
often defeated tone are mainstays and what they convey is the
secret to Manchester Orchestra's prowess. These songs are almost
blatantly constructed around Hull and his sincere musings, and
what a brilliant thing that turns out to be. "If you knew I was
dying, would it change you?" he asks in I Can Barely Breathe, a
lyrical masterpiece of wasted potential. He goes onto plead: "If
seeing is believing, then believe that we have lost our eyes!"
and the song climaxes around him. As it should.
And there are shiver-inducing moments absolutely everywhere.
Closer Colly Strings is the perfect way to end the record, a
slow and tender ballad played out atop gentle ambience and a
heartfelt acoustic guitar which builds amid teasing drums to a
hollow crescendo which sees Hull deliver, "Besides, we can't
believe without fear!" To say that Virgin is a masterclass in
such soundbites, though, would be to grossly underestimate the
group's ability to craft scenes and emotional situations.
Standout Sleeper 1972 drones around a mournful organ and has
Hull telling the story of his fathers death: "His soul flew
right up in the sky, and I cried myself to sleep," he begins,
and the song never climaxes. Elsewhere there is undoubted
passion, crippling doubt and nervous fear to be found. The
guitar lines match the mood that Hull creates; the percussion is
often sparse but occasionally explodes and nuances like Sleeper
1972's whispered choral vocal tops everything off with an
astounding level of consideration.
It would be extremely difficult to argue that I'm Like A Virgin
Losing A Child proves an extensive amount of musical mastery on
behalf of Manchester Orchestra, although 2009 follow-up Mean
Everything To Nothing is evidence enough that they have tricks
up their sleeves even now. But if you think that removes any of
the magic and excellence that's trapped between the four walls
of their 2006 release, look a little bit closer. Virgin is
phenomenal, a tour-de-force of matching music to a narrative and
telling that story in the fewest and most powerful words
possible. It doesn't redefine indie-rock, but it does see a
hugely significant movement in a much more important sense. With
a heavy heart and looking straight at you with cutting eyes,
Like A Virgin Losing A Child is a thoroughly worthwhile and
affecting affair from start to finish.
Url: http://themanchesterorchestra.com/
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