Media Review

Say Anything

In Defense Of The Genre (CD)

J Records
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Overall Rating:

9.5

Music Quality: 9.5

Production: 8.0

Originality: 9.0

As Max Bemis says on the song Spores, “he can still f__k [your] eyes crossed.” In another moment on the record, Bemis commandingly shouts—“defecate on the lawns of the Barbies and Kens!” In the several months (I’ll say months because that’s how I counted them) since the eventually adored and multiple-release of “…Is A Real Boy,” we’ve all been anxiously waiting for this double-LP release. Obvious questions—would it live up to the previous record, would the full band sound continue the focus Bemis established on LP1, was Max Bemis even going to make another album—all were ones I quickly dismissed. I just wanted to hear the damn thing.

And when it finally surfaced, it was almost too much to take in. It was a lot to take in: Two LPs, 27 songs, some 23-guest appearances, and an array of diverse songs that were at moments angry and explosive and at others pensive and somber. And immediately it was at once wholly impressive.

It would seem that such an effort would have a scope too large and would lack the quality—but it’s hard to find moments where the songs aren’t entirely satisfying. Sure, some of the guest vocal parts are much more impressive than others (Hayley from Paramore sounds flawless, whereas Gerard from My Chemical Romance sounds almost forced; Kenny from The Starting Line sounds perfect where Conley from Saves The Day left you wanting more). And some of the tracks leave more to be desired, such as the polka-ish, cheesy “That Is Why” or the boring “Hangover Song.” Still, for the larger most part, most of the songs occasionally explore new bounds, or retain the working convention. For example, the wonderful “No Soul” takes advantage of the major production efforts with a techno-hip-hop-influenced electronic acoustic moment and drum sampling; the “Goodbye Young Tutor…” track reopens the somber acoustic side of Bemis found only on early, early Say Anything releases.

And while the record is a lot to get ahold of, it certainly doesn’t sound forced or dry at all. It’s quickly satisfying to familiar fans of the band, with blasting rock tracks like “People Like You Are Why…” or the inevitably catchy “Surgically Removing The Tracking Device” accented by Lazarra and Mascherino courtesy of Taking Back Sunday.

On that note, I’ll mention that while I assumed the guest vocals might tend to carry too much of the songs, they bring many of them to life as well as accent them. Kenny from The Starting Line, for example, tends to carry the song nicely and closes out the CD perfectly on “Plea,” while Pundik and Gilbert of New Found Glory simply provide accenting backing vocals on “You’re the Wanker, If Anyone Is.” Overall, it’s a great mix.

“In Defense Of The Genre,” lyrically and content wise, keeps it a little more simple—I was hoping for a little more biting lyrics and scene-bashing we all know Bemis is capable of (see “Admit It” on the last record, if you’re confused). For the most part, lyrically the CD is more introspective than anything, and while it’s a little unclear whether the message as a whole is to defend the genre, the composition saves it.

You’ve likely heard this CD anyways, but if you haven’t, you’re really missing out. It’s a bear to get your ears around the whole thing, but once you do, you’ll feel it’s as complete and fulfilling as anything the band has ever done.

reviewed by Andrew Martin