In the summer of 2004, I found a copy of [A–>B] Life by mewithoutYou in the church camp bookstore for $7. I had seen the name trudging through the Tooth and Nail website (the things we used to do to find new music), and I was enchanted by Vasily Kafanov’s album art, so I took a chance on it.
On first listen, I hated it.
But following along with the lyric sheet, I realized that there might be a worthwhile experience if I could dig in deeper. So I listened again. And again. And a few more times.
And over a few listens, I became fully convinced of the genius of this bookish, experimental post-hardcore outfit.
If you’ve been following along for any length of time, you’ve probably picked up on the fact that I’m almost automatically a fan of anything with huge, thick walls of guitar noise.
Glassjaw has always been a bit of an outlier.
Jorden Dreyers, lead singer of La Dispute, is a bit of an enigma. He masquerades as a hardcore frontman, thrashing across the stage as he screams his lungs out.
In the great scheme of music history, it’s near impossible to talk about La Dispute without mentioning mewithoutYou. And I’m as guilty as anyone in that regard—mewithoutYou has been my favorite band for around thirteen years, and they were the first band to mix hardcore conventions and spoken-word (shouted-word?) vocals that La Dispute also uses.
It was tough out here for a punk kid in the early 2000s looking for new music. Internet speeds to support streaming would take years to develop. We had Napster, but we it took hours to download a single song.
