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Defense of the Genre
Defense of the Genre in Bloomington, MN
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Size: CD
Max Bemis
-- the medicated frontman responsible for every melody, riff, and snare hit on
Say Anything
's debut -- has broadened his approach for the band's follow-up release.
In Defense of the Genre
is a double-disc set spanning every nook and cranny of
Bemis
' record collection, with a full lineup accompanying his romps through screamo, show tunes, and the usual pop-punk territory. Also along for the ride are a number of collaborators, and anyone who questions
's ability to stay afloat in light of their frontman's bipolar disorder need only notice the supportive cameos by
Gerard Way
,
Pete Yorn
, and
Chris Carrabba
. But even if
has the support of the music industry, he still refuses to play by its rules, structuring
like a schizophrenic mixtape instead of something traditionally cohesive. The songs function like a series of miniature suites, making left-hand turns without warning and mixing genres together with a deft hand. Electronica choruses rub shoulders with punky verses in
"No Soul."
Broadway-styled orchestrations in
"That Is Why"
give way to the aggressive
"Surgically Removing the Tracking Device."
Elsewhere,
finds room to toss everything from doo wop to reggae into the pot, and although the resulting concoction isn't quite as appetizing as
...Is a Real Boy
, it's certainly good enough to warrant several helpings.
may be seeking to defend the emo genre, but his album instead illustrates the difference between run-of-the-mill emo -- which, indeed, comprises most of the genre's output -- and the imaginative, skillful tunes that flourish here. The only major downside is the album's length; at 89 minutes, it often comes across as untrimmed and longwinded, particularly during the second disc. ~ Andrew Leahey
-- the medicated frontman responsible for every melody, riff, and snare hit on
Say Anything
's debut -- has broadened his approach for the band's follow-up release.
In Defense of the Genre
is a double-disc set spanning every nook and cranny of
Bemis
' record collection, with a full lineup accompanying his romps through screamo, show tunes, and the usual pop-punk territory. Also along for the ride are a number of collaborators, and anyone who questions
's ability to stay afloat in light of their frontman's bipolar disorder need only notice the supportive cameos by
Gerard Way
,
Pete Yorn
, and
Chris Carrabba
. But even if
has the support of the music industry, he still refuses to play by its rules, structuring
like a schizophrenic mixtape instead of something traditionally cohesive. The songs function like a series of miniature suites, making left-hand turns without warning and mixing genres together with a deft hand. Electronica choruses rub shoulders with punky verses in
"No Soul."
Broadway-styled orchestrations in
"That Is Why"
give way to the aggressive
"Surgically Removing the Tracking Device."
Elsewhere,
finds room to toss everything from doo wop to reggae into the pot, and although the resulting concoction isn't quite as appetizing as
...Is a Real Boy
, it's certainly good enough to warrant several helpings.
may be seeking to defend the emo genre, but his album instead illustrates the difference between run-of-the-mill emo -- which, indeed, comprises most of the genre's output -- and the imaginative, skillful tunes that flourish here. The only major downside is the album's length; at 89 minutes, it often comes across as untrimmed and longwinded, particularly during the second disc. ~ Andrew Leahey
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