The title of Manchester Orchestra’s third album, Simple Math, is a feigning misrepresentation of the product it is tasked to embody. Perhaps a better title would be “Intricate Arithmetic” or even “Convoluted Calculations.” But Simple Math? No, that title just will not due as an adequate depiction of the forty-five minutes of tortured flawlessness presented. Semantics aside, a trip through Simple Math will leave the listener captivated, drained, and thoroughly sated.

Manchester Orchestra’s undisputed leader, lyricist and lead vocalist, Andy Hull’s unrelenting voice and pensive lyrics traverse numerous conundrums, always leading his pen to scribble his own name down as the culprit to what ails him. The overarching theme of Simple Math can be summed up as a “series of metacognitive maps leading towards self-blame.” It is crucial to understand this in order to fully appreciate the virtuosity of Simple Math. Where, as Hull has willingly admitted, the group’s previous two records, 2006’s I’m Like A Virgin Losing A Child and 2009’s Mean Everything To Nothing, placed much of the blame for life’s hardships on many different people and/or factors, Hull spends Simple Math evaluating his own self, and in doing so, holds himself accountable for most of his evils. “I sit home and drink alone // and hope that bottle speaks // like you // like us // like me,” Hull sings on “Deer,” the eerie and visceral first track of Simple Math. “Dear everyone I ever really knew //  I acted like an asshole so I’d could keep my edge on you // ended up abusing even those I thought I knew.”

The aridness of “Deer” is quickly broken by the deafening thunder of “Mighty,” a track that lambasts about behind dense percussions and fervent vocals.  “Pensacola” is sure to become a fan-favorite, thanks in large part to Manchester Orchestra’s use of gang vocals. “Virgin” is another track that pummels the listener while Hull’s distinctive near-screams are nicely complimented by a children’s chorus. Lead single and title track “Simple Math” is a layered collection of suspended guitar riffs and electronic components. “Apprehension” further drops the listener into the depths of Hull’s psyche as he sings, “How could I misconceive I was owed something radically radiant // the doctor came through // and asked if you’d like to give it name // how can you misconceive our ideals and growing our futures // some impressive prize I find for placing all the blame // my apprehension got the best of me.”

Manchester Orchestra seem to find a way to balance the melodic demands of their songs’ topics with the aggressive nature of their analysis (“April Fool”) as well as being able to incorporate classic-rock elements into their sound which allows them to grow as a band (“Pale Black Eye”). This balancing act, ever essential but most certainly daring, provides a platform for Hull to self-evaluate his soul while attentive ears listen in. This honesty found in every lyric and every note on Simple Math is gripping and inexorable; it oozes from the very core of Manchester Orchestra. Simple Math, by all calculations, is a timeless record brought about by musicians leaving nothing on the table.

****.5/*****

*This review was composed by Mike Meeze