Album Review: mewithoutYou - It’s All Crazy! It’s All False! It’s All A Dream! It’s Alright
mewithoutYou has been giving their listeners quite the reason to keep their ears pressed against their headphones for the past couple of years. With their outlandish expressiveness found in their harmonies, lyrics and, above all, lack of cleanliness, it’s hard to ignore the band. That’s why since the release of [A-B] Life, fans keep a sharp lookout for any new material. Needless to say, it’s been a long, winding path, filled with surprises and alternatives.
Take the band’s 2004 sophomoric effort, Catch for Us the Foxes, for example. While the album strayed away from the “garage” sound and lacked the vigor of [A-B] Life, it was still a good listen. To this day, “Torches Together” still entertains, especially when Aaron Weiss screams “Strum the guitar!” over and over towards the finale of the song. Let’s not forget “January 1979″, a song anyone can scream to, no matter where they are in public. Still, nothing comes close to the band’s third effort, Brother, Sister, a diamond cut of an album, sporting frenetic tracks like “Wolf Am I! (and Shadow)”, “A Glass Can Only Spill What It Contains” or “In a Sweater Poorly Knit”. Some might consider the album the band’s best to date, far surpassing their debut, which rarely happens, at least in today’s day and age.
Thus, history brings us to today, with the release of their fourth album, wildly titled It’s All Crazy! It’s All False! It’s All A Dream! It’s Alright. On first listen, things have changed. Even the average fan will notice the band’s deep focus on folk and acoustics, begging the question, “What the hell happened?” An educated guess might assume that melancholy settled in, something rather explicit on songs “The Angel of Death Came to David’s Room”, “The Fox, the Crow and the Cookie”, or “Goodbye, I” — all complete with this sense of disenchantment.
It’s confusing, really, trying to understand what happened. It’s as if mewithoutYou took their original sound, buried it six feet deep, and left no trace of it to be found. Then they retreated indoors and started from scratch with one hell of a boiler-plate idea: Let’s score a children’s film. Really, that’s the only logical explanation here, and that doesn’t even start to answer the ensuing list of baffling questions.
What happened to the angry, self aware Weiss, who would talk of self loathing and the sadness of the outside world? Where did the biblical references go? You know, the ones that would merely brush the surface of radicalism yet still hold the attention to even the most agnostic fiend around? Where is the aggression? Where is the motive to listen? Nowhere, and this is the saddest part. The factor that held so many mewithoutYou fans were the stories within the songs themselves and those stories have been replaced by those of a farmer’s, who’s recognition of food, farming and goods warrant nothing but celebrated yawns.
Upon listening, any fan of mewithoutYou (and not just of Weiss’s “aggression”) will likely tire towards the middle of the album, beginning with the ultra-drab “Timothy Hay”. Lyrically, Weiss had to have run out of ideas and it’s as if the band followed suit. You’ll notice the drums aren’t as impacting and moving as they once were before, and the bass is nearly non-existent. In fact, the only “hard-hitting” guitar parts found throughout the album is an acoustic being strummed, um, heavily. Some may disagree, but “Bullet to Binary (Pt. Two)” doesn’t deserve to have the title of its predecessor, as it’s not even remotely catchy nor attractive to the ears.
With this new approach, one can only assume that mewithoutYou is trying to forget the past and focus on the present, or at least capitalize on the ever thriving folk community today. Regardless of the reasons, It’s All Crazy! It’s All False! It’s All A Dream! It’s Alright is a disappointment for the ones that fell in love with the band’s unique assembly of sounds. If that drew you to the band, ignore this record and move on to greener pastures. Now, if you don’t mind this newer acoustic sharp turn, give the record a spin. Worst case scenario? One less band to buy albums from.
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It’s All Crazy! It’s All False! It’s All a Dream! It’s Alright
I must say. I have been an avid fan of mwY for years. I love Catch for Us and it will remain my favorite cd. But, This new[er] cd, whist being extremely different, is still a mwY cd and is still good.
At first when I heard it all I could think is “what the hell?”. But, that is what I thought when I first heard Catch for Us. It is different, and it isn’t like their past works, but it’s okay. Why stay in one box if you can work in many different boxes? It is still lyrically wonderful and simply while being profound. It still have the sense of a story book, but this one is more pronounced. So what if the band has changed? Haven’t we all? I honestly think if you have grown up with this band that it makes sense that they would do this.
I love it. I love that they can do whatever they want and still be amazing.
You either hate their sound or love it.
I am not sure how you can that there are no biblical references?
the story behind “The Angel of Death Came to David’s Room” can be found all throughout 1st and 2nd Samuel in the Old Testament.
Also, in “Goodbye, I” has deep biblical references that you have to dig a little bit for. The line, “There’s a movement in all our stillness and however much we move we are bound to stand completely still” fits in perfectly with Exodus 14:14 which says “The Lord will fight for you, you need only to be still,” not to mention the famous Psalm, “Be still and Know that I am God.”
I could elaborate further on biblical references if anyone would like me to. There are many all throughout his lyrics.
First I want to say I’m not an apologist for the band. I just picked up the album after hearing one of the songs on KALX a local college radio station. I haven’t herd any of the other albums, but I really like this album. In my experience the best bands are the ones that make great albums that aren’t just continuations of the last. The band picked a theme for the album and did a great job of constructing an album around it. This album is fun, funny, and quite entertaining.
this album changed my life… and i’ve been listening to them for 7 years now.. there is no two ways around it, this album is amazing… all the people who dont like it because it doesnt sound like the rest, need to get there mind out of the past… this album is amazing
This is a wonderful record, and happens to be where the band is at, I suppose. Just because he’s not angry and yelling doesn’t mean he doesn’t have good things to say.
The reviewer is right, it is very much like a children’s movie score…it’s like having child-like faith all over again.
I feel as if you missed the entire point of the record. Bands needs to grow up just as people do, you can’t stay and angry and self-loathing forever.
First of all this album is horrible. It sound as though Weiss wasn’t even trying. His vocals are flat and his lyrics are boring. What happened to the passion of Catch For Us The Foxes and the brilliant arrangements in brother, sister. Not one of these song kept my attention till the end let alone the album as a whole. “Timothy Hay” sounds like a jingle in a toothpaste commercial, “Bullet to Binary pt 2″ almost got there but still didn’t quite get it right. I think those of you who “really liked the album” are in some serious denial and can’t face the fact that this album was clearly poorly written and produced. This album tarnishes the name mewithoutYou, in fact, i think that if they really wanted to jump on the bandwagon of indie/folk (which they did whether or not you want to admit it) they should have at least done their fans the courtesy of changing their name.
disappointed to say the least
1/5
Finally, I’m not the only one who can’t stand this CD. I had high hopes for this CD ever since I gave ‘Brother, Sister’ a listen…Probably too high. I can’t say I’m surprised though. After noticing Weiss’ change in ideals and his new appearance (he’s looking more and more like a homeless man everyday) it’s no surprise for him to have gone soft and to be singing fables about farmers. I don’t hate the band for changing, bands often do…what I hate is that they released (obviously in my opinion) a poor album. If this album had come from a respectable folk band, I wouldn’t like it any better. I agree with the review, 2/5 suits it well.
i’m glad i’m not the only one who hated this album. the fox/crow/cookie isnt even a jesus ballad; it’s the retelling of a french poem MWY doesn’t even retell correctly. a lesson in vanity is instead just a story about two animals chatting. that seems to be the extent of emotion in this album. i do like quiet music. brother sister was beautiful. this album just seems dull.
I actually quite liked this album. I must admit, at first, I was a little disappointed that I wasn’t getting that angsty sound I’d grown to love about MWY. However after I put that aside I grew to love this album. I’ve always appreciated that MWY doesn’t produce music just to please fans. Instead they’re always looking to mature and grow musically. It’s very refreshing in this time of bands putting out the same album over and over just to please the fan base. I do understand why you didn’t like this album. But it was a gutsy move on the band’s part and I respect them for trying something new.
you’re crazy. this album is quickly becoming my favorite mwY album, with every time i listen to it. the fact that you said there’s no biblical references in this album shows that you’re very narrow-minded. almost every song is a parable of sorts, just because they’re children’s parables doesn’t mean that they still carry the same feeling that there was in Brother, Sister. i’d give it a 4.5/5.
this is just my opinion but this review SUCKS. so what, the band changed the sound? dramatically. the lyrics are beautiful, and so is the music. this is a fantastic and amazing album.
Great review. Horrible record. I wasn’t intending to by adolescent children’s songs when I got this album. All the emotion and aggression have been stripped from this band… and that’s what I liked about them.
Those who enjoyed the record are merely mwY apologists, nothing more
I think it sucks you dont like this, cause I saw them three days ago and all the new stuff fit in very well with the old stuff. I mean its not as rocky, but its pretty much the same band with the same guy writing the songs. The theme of this album is really deep and fun too. The whole band seemed really happy and had a lot of fun playing even the older angry stuff. Basically take C-Minor, Sun and Moon, The Spider Songs, In a Sweater Poorly Knit from “Brother Sister” and make them happier with more of an emphasis on stories and fables. Give it another chance, cause this CD is just as good as the last ones.
http://akissner.blogspot.com/2009/06/mewithoutyou-its-all-crazy-its-all.html
My dissenting opinion
I actually like the new album. It’s a conscious rebellion against the rebellion, and I can definitely respect it for that. I also dig the orchestral sound (they called in a classical composer for a lot of the album).
The way I see it, the term “progressive” is starting to become ironic. Music defined as “progressive” is now the music that has been done ten thousand times before. When MWY started, the only thing that set them apart from the majority of the scene at that time was Weiss’ lyrics and vocal style. The lyrics are still there, the vocal style has changed, and if you ask me the new album is a lot more original than any of their previous stuff. And this is coming from a fan who’s followed them since [A-B] Life. They’re still one of the most aware, clever, and thought-provoking bands out there, and that’s why I fell in love with them in the first place.
I disagree with this review, this album, while different from their past work, is utterly amazing. The lyricism, musicianship, and simplicity, yes even the simplicity, all combined to make this an great album. Aaron’s story telling is better than ever before. I recommend any naysayers to take a few more listens, I’m sure it will grow on you. I’d give it a 4.5 out of 5
I respect your opinion, but I feel that there are several incorrect claims made in your review. Many here have commented that there is in fact a lot of symbolism, and I agree.
You also mention a lack of religious allusions, but this is simply not the case. And, really, with all of the talk about David, Solomon, and transfiguration (”Why not be utterly changed into fire?”), how could this not be the case?
There are also some very stark similarities, lyrically, to the older albums. “Allah Allah Allah”s lyric “Come down and join our band /We’ll cut you like a sword / and sing forgiveness songs” recalls the ideas of Catch For Us The Foxes’ “Four Word Letter (Pt. 2)” when Weiss sings “Oh doubters, lets go down / Down, to the river to pray”. “Fig With A Bellyache”, all about sexual temptation, touches on something explored on “C-Minor” (”I’m still technically a virgin after 27 years / Which never bothered me before / What’s maybe 50 more?”), and “King Beetle” & “A Glass Can Only Spill What I Contains” can walk hand in hand thematically.
Also, you call for more aggression from the band? Do you mean that you want more anger or is it simply a desire for a louder sound? Because I don’t know if you’re going to get too much anger anymore - Weiss seems to have joined the peace and love camp over the last couple of years, and more power to him. If it’s sheer volume that you feel is lacking, I think that you can find it on It’s all crazy! It’s all false! etc. on the back-end of the album. The last stretch of “Cattail Down” is full of group choruses, raucous instrumentation, and shouted back and forths. “King Beetle” has one of the most satisfying payoffs, and certainly “Allah Allah Allah”, while not aggressive, gets “loud” by its finish.
Again, I respect that our opinions differ, but I just thought there were a few things to straighten out.
Ok, this has gone too far. I sat back, while already reading this article, watching people comment and bash this writer but in all fairness he makes a clear point. I downloaded this record and I have to say it is a disappointment. Although I may not be a huge fan as some of the people who wrote this article, but I do know good music and this is mediocre at very best. Not only that but I find that “symbolism” is such a cop out move for artists to just make lame shit up in their lyrics to make it sound somewhat important. I cant stand that. Michael makes a good point as well. So many bands are hopping on the bandwagon into this folk theatre bullshit and it is annoying. Whatever happened to our bands like The Pixies or something as raw as earlier Pearl Jam albums like Binaural. Jesus. True MewithoutYou isn’t a band for the bandwagon but this album fits the part. This album deserves one star and I’m surprised the writer gave them two. Cheers.
I fell in love with mewithoutYou on Brother, Sister, even though I don’t listen to very many heavy bands. I found the new turn delightful. The lyrics are great. He has always quoted heavily from poets and religious teachers and the way he meshes sufi and christian influences is really incredible. To hear a christian songwriter comfortable with islamic thoughts is very cool, the two communities (christian and islam) need to find common ground (not theologically, but in terms of understanding each other) and this album seems to strive to progress that understanding.
Even though the chord progressions are simple (folk music normally is), the brilliance comes in the instrumentation. They hired or had volunteers play an wide variety of instruments. The organs and middle eastern instruments layer to make some incredible sounds. This is very good folk-ish music.
thats my two cents. I disagree with the review obviously. I guess if you prefer the past then fine, but they already made that music so go listen to that. This new stuff is brilliant in its own way.
First of all, I really like the album. I do agree that Brother, Sister is their best work to date, but I disagree with a lot of what you say.
If you’re not into the new softer, folkesque sound, then fair enough, the albums not for you, but I find it very uneducated to say that mewithoutYou are trying to “capitalize on the ever thriving folk community.” If you have ever met them, seen an interview, or even heard anyone who has met them speak, these guys care nothing about capitalizing on any idea. They play for themselves, and always have. People in the past have chosen to listen, and that is wonderful. However, if today all of their fans dropped them for changing, they would continue on doing exactly what they are doing, and playing what they feel.
I also think that you’re not giving him proper credit for his lyrical content on this album. All of the same symbolism, insights and stories are there, many of the characters just aren’t human. The Fox, the Crow… isn’t just a song about animals a pastries, there is a message to it, especially if you read the lyrics (there are more words than appear in the song). The potato and the lettuce tell us about lust, the King Beetle about “the Light.”
Every one of these songs, in my opinion, is in perfect line (lyrically) with the other albums, just happier. And as I said above, they play what they feel, and they’re happy. The anger and aggression in the previous albums was real. It was what he was feeling at the time. Aaron is past that now, and his music reflects it. “Why not lets forgive everyone, everywhere, everything, all the time.”
I completely respect your opinion, and again, if you’re not into the folk sound, if your music has to be aggressive, then you’re very fair in putting it back aside or selling it back to a store. However, I think the lyrical content you’re looking for (though less angry) is there, you’re just not hearing it through the genre.
nah, this album is gold. its orchestrated and pieced together beautifully. the lyrics while they’re about foods and “boring” things its all symbolism. dare to dive deeper into what you listen and sing to and give it a second or third thought.
this is good shit. and it inspires me to keep making music for my friends and myself.
one of the main reasons for the musical change came from losing there guitarist Christopher Kleinberg. he did most of the lead work on there older albums.
personally i love every second of the new album. i find it alot more personal then there other albums. i feel like this album was just a conversation between god and aaron and we are all just getting to listen.
besides losing there guitar player. AARON IS FINALLY HAPPY WITH HIS LIFE. this might be why there songs are not as “hard” or “heavy” as there last album.
i feel like aaron’s lyrics have gotten alot better too. so much symbolism on this album. showing man for what he really is. just animals.
i do love all of mewithoutyous works tho.
sorry if the spellings wrong ha on anything.
My opinion made in this article and your viewpoint on it does not make this blog bad. Again, it is an opinion and I did “bother” to listen, due to the fact that I have been a fan since the first album. Yes, its natural progression, but in terms of this album from their previous– its a giant leap. Again, Brother, Sister had areas of folk, this is true, but it also had its progressive moments i.e. Wolf Am I (Shadow), A Glass Can Only Spill What it Contains, and Nice and Blue part 2. Come on, where are songs like that in their newest album? Not present. This album talks of pastry items and different food groups communicating with one another. Its overall boring. If I wanted to listen something like this, I would have picked up Veggie Tales from Blockbuster.
Jesus, this blog gets worse by the day. They were hinting at these sounds in Brother, Sister if you bothered to pay attention. It’s called natural progression.
Personally, I think the switch to a more folk-y sound is both generic and hack-like. With the insta-success of Fleet Foxes last year, not to mention the never ending influences of My Morning Jacket on bands today (Band of Horses, we’re looking at you!), I’m getting tired of the genre. Not tired, sick of it. It’s as if everyone flirts with the style and at this point, it’s overstated.
This band follows suit, apparently.
Well, I agree with this review. I don’t hate the new album, but it’s certainly my least favorite of their work. For what it is, it’s not horrible, but for what I was expecting or hoping for, it’s not that great. 2.5 out of 5.
I have to disagree on almost every aspect of this review. While i will admit the transition of their sound on this album is quite jarring at first, it isn’t terribly suprising. The melodic hopefullness found both in the lyrics and music of brother, sister points quite directly at this shift. While one would expect at least another middle record (a little harsh a little soft life b,s) before this one, i admire them for jumping head first into their new outlook on music and, from the lyrics, life (this is what we get when danielson is involved). On that note, the lyrics are incredible! Weiss has always been a wonderful stroy teller but his choice to tell folk tales fits perfectly with the joyous love for the Grand Mystery that permeates throughout this record. The title, from a sufi theologian the brothers were raised on, works perfectly with the motif of story telling and if you appreaciated his lyrics in the past then i highly reccommend spinning this record a few more times so you can truly dive into to what they’re saying about where their journey has led them to now (it’s quite a remarkable journey from [A-B] to now, and even if you are an atheist, its a wonderful window into what it’s like fighting with/surrendering to the Knowable Unknown). Personally, as a very devoted fan, i think it’s an incredble record. Perhaps not their best but an intriguing stepping stone to whever they’ll be led next. 4 out of 5 from me.
At the show in philly the fans were screaming the new lyrics. You’re simply wrong. They love it.