Manchester Orchestra – Hope

With the release of their self-identified “rock” album, Cope, Manchester Orchestra took the next step in their ongoing journey of developing a heavier sound.  But that trend is at least mildly concerning, if only for that nagging part of me craving some sort of return to the dank, moody post-punk exposition that started it all in Like A Virgin Losing a Child.  But it’s hard to fault them, especially since Manchester Orchestra has matured and evolved all the while remaining true to their experimental beginnings.  

That’s why the unannounced release of Cope’s companion album, Hope, comes as such a shocker.  Serving as a spiritual mirror that inverts Cope’s brash melodies into soft piano based counterparts, Hope indulges that selfish, greedy part of fans yearning for a glimmer of the band’s past.  

Andy Hulls ‘s melancholy moan creaks open Cope like a curious child hoping for a glimpse of a gift they never thought they’d receive.  His voice was practically made for this hushed side of the spectrum, and hearing it glide in on “Top Notch” above a sullen piano laden atmosphere makes for an incredibly fulfilling experience.  Never hurried, the soundscape builds heavenly choruses through ghostly “oohhh’s,” receding into darkness with little more than Hull’s whispering echo.  Manchester Orchestra makes good on the platform to do more with less.

Hope is a group effort, and despite existing on a minimalist plane, the entire band contributes meaningfully.  Take the layered vocal harmonies of “Choose You.”  On his own, Hull sounds like a tired and lonely soul, but his bandmates chime in with various styles and tones for a host of purposes.  Some sing in unison to emphasize vital words or phrases; others back particular instrumental segments with light and flowing “ahhh’s,” and still others harmonize somewhere in the middle.  Put bluntly and somewhat misleadingly, it’s like emo a capella but with a light musical backing.  They’re the type of communicative vocal refinements that are typically expected from bands like Brand New.

In many ways, Hope plays a safe game and the songs tend to saturate on the same wavelength – but they do so while maintaining plenty of standout segments and momentum.  One of the most striking full band variants, “Ocean,” retains its status as a single-worthy tune but for very different reasons (the once crunchy chorus now stands as an exemplar of soft relief).  Similarly, the formerly forward and catchy resonance of “All I Really Wanted” reestablishes itself as one of the most subdued of the bunch.  And of course there are tracks that were less remarkable in Cope that truly shine on Hope.  For instance, “Indentions” smooths out its counterpart’s choppy chorus with pulsing chords and a delicate vocal cushion, while “See It Again’s” Gregorian-like chant burrows itself deep in memory without a note aside from the band’s collective vocals.

Think of Hope as a fading, remorseful memory of Cope.  The immediacy of the moment may have passed, but the thoughts and emotions have deepened with time.  Perhaps the album’s atmosphere reflects learning to have “hope” when overcoming one’s grief-struck issues rather than simply accepting and coping with them.  Regardless, Manchester Orchestra more than justifies the coexistence of Cope with Hope, once again cementing their reputation as masters of introspective, emotive output.  Those that held out hope for Manchester Orchestra’s eventual return to their roots may most appreciate Hope, but the high caliber of musicianship means that it should easily be more widely received.