Bad Books calls itself an accident, but everything about the union between Kevin Devine and Andy Hull makes sense. It gets its energy from the similarities between Kevin Devine and Manchester Orchestra and its oddity from its equally unique parts of a whole. Bad Books, the debut record, drops today, October 19, and has proven itself to be essentially a conglomerate of Devine’s and Hull’s best works.
 
Arguably, there isn’t another set of ten songs with more alliteration and slick language. “Holding Down The Laughter” is an upbeat fest of simple vocals over a constant peppy drum and ascending melody paired with punctuating crashing guitars and an occasional keyboard. Musically and lyrically complex, it is easily the embodiment of everything Bad Books. It’s the 5^th track, but if  you’re dying to see what Bad Books looks like, go there first.
 
A slow, ethereal introduction of “How This All Ends” ushers in the record. The verses are full of Pink Floyd echoes and sighs, slightly confusing for the listener waiting for a Macnhester Orchestra or Kevine Devine sound. But the chorus breaks the tempo with Devine’s signature feigned enthusiasm.
 
Devine’s stamp is on “The Easy Mark & The Old Maid,” a quiet worry over a sweet melody. The less familiar sighs and harmonies stylize typical analogies and coded comments, shoving Devine’s clear voice into the foreground of the piece even when he questions his own work: “I asked her for the future but she only sang me a song.” But some of the best Kevin Devine writing shows up on “You’re A Mirror I Cannot Avoid.” Just his raw voice and his guitar create a touching vulnerability as he sings, “Thought you went cannon balling after me.” The intimacy in the soft, high notes of “Say the words // You used to wish you heard // Back when you focused enough to be good // If you’re gone // An endless false alarm // Just remember I loved you as long as I could” is as gripping as Devine’s sustained picking on his guitar.
 
The group sound comes back for “Baby Shoes” in a low, almost conversational tone connecting short lines with startlingly silly, simple rhymes. Eerily catchy is the punch line: “I’m a saint // Sticky paint // Three six’s and we can call her by her name.” Ben Homola’s unwavering rhythm punctuates the story of a devil girl while an electric guitar confuses perfectly between verses.
 
“You Wouldn’t Have To Ask” is the most traditional song you’ll find, and surprisingly, the quick backbeat and lead vocal melody succeed, supporting the song’s title in the world’s simplest chorus. It may be atypical for both Kevin Devine and Andy Hull, but it breaks up what can otherwise feel like a uniform sound.
 
Devine is everywhere, and for Manchester Orchestra fans, “Please Move” is the long-awaited representation. Hull’s whining voice over a rushed tune and dominant drum calls and breathes airily, repeatedly “Save this for another day,” mimicking slightly “I Can Barely Breathe.”
 
“Mesa, AZ” pairs Devine’s throaty, perfect pitch with Right Away Great Captain’s passion for exploration, “Texas” is Right Away, Great Captain incarnate, closing the record with the questioning uncertainty Hull’s sole, gliding voice leaves you with. 

Which is more than fitting because uncertainty abounds this record: is Bad Books Kevin Devine’s side project, Andy Hull’s, or a joined effort? The record, although full of some of the best work from each artist, lacks a common theme or decisive soul. They didn’t set out to found a new band, but Bad Books is sounding a little bit like 10 great songs lined up with little reason and much rhyme to make up for it.
 
****/*****

*This review was composed by Emily Coch