Few artists have as diverse and unpredictable a sonic palette as mewithoutYou. From the scorched-earth post-hardcore of [A–>B] Life to the ambient punk of Catch For Us the Foxes to the rambling quirkfolk of it’s all crazy! it’s all false! it’s all a dream! it’s alright, few bands have created more different-sounding music that still sounds distinctly like themselves.
And nowhere is that wide-ranging individuality as completely displayed as the twin untitled releases that came out this year.
After the sudden release of the practically doomgaze single “Julia,” a countdown clock appeared on their website. When it hit zero, it announced preorders for their forthcoming album, and the immediate release of this seven-song e.p.
While at first blush, [untitled] e.p. might operate the same way as the Appendix of Pale Horses, collecting b-sides and alternate versions of songs from the full-length. But this release can absolutely stand on its own.
Like it’s all crazy! this e.p. finds Aaron indulging his folk tendencies. His lyrics tumble over his minor-keyed acoustic guitar strums, singing about Amish girls, angels and shepherds, the deterioration of his mental state, and Blade Runner. And all of it is delivered in the most controlled singing voice he’s ever had. “August 6th” is the most Dylan-esque thing he’s ever done, but it’s far more Blood on the Tracks than “It Ain’t Me Babe.”
And while it certainly more a folk album than a punk album, it’s nothing like it’s all crazy!—to the delight of most of their fanbase. While the rest of the band never explodes into fury, they’re hardly tied up like session players. “Bethlehem, WV” bursts with layers of post rock-esque guitars. “Dirty Air” is the poppiest song they’ve ever done, riding a bouncing bass line courtesy of interim bassist Dom Angelella (Greg took a couple years off to finish his master’s degree). “Cities Of the Plain” is an ambient lament joined by delay-heavy guitars and Rickie Mazzotta’s ever-building toms. “Existential Dread, Six Hours Time” recalls dub reggae, pairing an echoed drum beat with a reverb-soaked organ.
As a standalone collection of songs, it’s absolutely wonderful. But as a companion piece to a full-length (which I’ll review tomorrow), it’s breathtaking.