by Caitlin DeWeese, edited by Erik van Rheenen
I’ve said everything I can about how much I cling to …Is A Real Boy, even if I am 25. Bands with breakout, cult-like albums are gutsy as hell to continue releasing music, as it doesn’t always go over well. But Say Anything’s Max Bemis has continually been an exception to this rule over the past decade.
I am, however, an eternal pessimist. I was still getting used to Anarchy My Dear, which I did enjoy. For me, the only thing Hebrews had going for it was the endless list of guest vocalists — I wasn’t interested in the guitar-less experiment or post-baby mentalities. I love Say Anything though and am willing to give any album at least a chance.
Sadly, the album didn’t hold up well on a 5-day trip to Cancun, but I think that was too be expected. Bemis is a big grown-up man now, and despite the complete lack of guitar parts anywhere on the album, somehow manages to drag my synthy heart back to 2003.
Bemis’ lyrical play is the main element of Hebrews that kept me interested from beginning to end. The music is hard to stomach all in one sitting; it’s incredibly playful, carnival like, dizzy, and unsettling. That may in fact be genius, but I can’t handle it for more than two or three songs.