Manchester Orchestra – A Black Mile To The Surface

Over the years I’ve learned not to anticipate anything too specific from new Manchester Orchestra.  When I first took an interest, I was disappointed with how followups to I’m Like A Virgin Losing A Child deviated from their likeness to Brand New.  Then I was let down that Simple Math was more of a straight up rock record.  I was even disappointed by COPE’s plugged in direction, only to have my prayers shortly answered with the acoustic companion album, HOPE.  It’s been a rollercoaster for sure, but in each situation I’ve grown to love each subsequent release for what it is, rather than what I initially wanted it to be.

Front man Andy Hull is a man of evolution, never one to stagnante, always learning from past experience and pressing on in a bold new direction.  Naturally, Manchester Orchestra’s fifth full length, A Black Mile To The Surface, has its own unique fingerprint amidst their catalogue.  Hull, now age thirty, seems to be maturituring by leaving much of that angsty adolescent fire behind him.  His present style is one of cinematic scope – a graceful, sweeping altrock formula that places Hull’s harmonies at the fore.  Songs like “The Gold” and “Lead, SD” don’t shy away from exploring the full spectrum of expression, from soul piercing vocal highs, to hushed moments of intimate whispers.  In contrast to their earliest work, the band transitions between extremes with a feathery softness, folding melodies into one another without losing individual distinction.  Take “The Grocery,” which shifts from acoustic lightweight to crunchy riffs against a backdrop of Hull nimbly bellowing skyward, or how “The Mistake” grieves darkly while Hull explores reluctant but angelic acceptance.

Fans can rest assured that Manchester Orchestra’s more menacing post-punk atmosphere lives on in track like “The Moth” and “The Wolf.”  An undulating bass groove and hard guitar driven melody heighten the former’s sense of urgency, while the latter draws upon a cosmic electronic pulse that feels as if locked in the gravitational pull of an inevitable abyss.  Curiously though, the the most emotionally impactful moments emerge during the relatively well balanced number, “The Alien.”  Hull’s fragility feels real, and his lyrics spring to life instantly as he sings of a swelling desperation: “The lights were low enough you guessed, You swapped your conscience with your father’s medication.”  Piano notes and lone chords linger amidst Hull’s impactful whispers and self-harmonies, in what becomes A Black Mile To The Surface’s unquestionable centerpiece.

If I have one hesitation, it’s that on the whole A Black Mile To The Surface’s lyrics didn’t “pop” or sink in as readily as they have in the past.  This isn’t to say that Hull isn’t a talented lyricist, or that following along with a lyric sheet won’t move you to tears.  Rather, it just means that if you’re like me, you might not find yourself instinctively gravitating to words over music.  This speaks more to the album’s relatively homogenous style, which can have the unanticipated effect of perhaps blending songs together more than setting them apart.

Overall though, Manchester Orchestra make good on the promise of their latest full length.  Once again, Andy Hull refines his songwriting to reflect the present point in time, and A Black Mile To The Surface establishes its own unmistakable identity amidst Manchester Orchestra’s growing body of work.  As is reflected in each song’s compositional choices, Hull is maturing, and with long time fans every bit as vulnerable to the sands of time, A Black Mile To The Surface stands to forge a very personal connection.