Sssshhhh. Don't tell anyone, but the new Streetlight Manifesto Album, The Hands That Thieve, was leaked about five days ago, and I may have listened to it. I may have listened to it several times. Please don't tell Victory Records or the RIAA.
For Streetlight fans, this album was the Christmas that got pushed back again and again because mommy and daddy were fighting and trying to get the upper hand in their divorce settlement. I think the fans (myself included) have been angered by, but forgiven Tomas Kalnoky for his mistakes in the matter, mostly because he came clean about it, unlike a certain record label. But outside drama aside, when this album leaked, all those bitter feelings fled, and I got right down to listening to the album I've been waiting for since 2007, which was, comically, the first time I went to college.
The first listen through this album, I couldn't help but note just how very different it is from the previous two original albums, and in fact the style of the cover album released. Remember back when Tomas Kalnoky said Streetlight Manifesto was "Horn-based folk rock", and we all laughed at his effort to not call himself Ska? Well, this album.... this album is horn-based folk rock. Elements of ska, though still existent, are far fewer in this album, while the Punk/Metal influences are more heavily laid on top of the folk base of the song writing.
The opening track, "The Three of Us", is probably the closest thing to a previous Streetlight Manifesto song we encounter on the album. This track was previously released as a single, and I remember not being such a fan of the mixing on the single version. I'm not sure if my gain was just up a bit more on my computer this time, but my general complaints would seem to be remedied. Nadav Nirenberg's playing sounds like an actual trombone, instead of something out of Finale. Thank god. The thing I love about this track is that the lyrics aren't over-abundant, instead letting the music do most of the talking. The lyrics themselves are awesome, but more scarce than the typical Kalnoky song. One complaint: The saxes are under-mixed, while the trombone and trumpet dominate (although DCI folk would say that's not a bad thing, I like Jim Conti and Mike Brown's playing).
The second track, "Ungrateful" is exactly what I'm talking about when I say this album is "different". If you've heard Kalnoky's very first project, GIMP, this song seems to have its roots there. Very straight-ahead punk, with occasional horn magic over it. The intro is very different as well, with some cool muted trumpet over quiet guitar before the song kicks into overdrive. I imagine I'm too old to survive any mosh pit to this song now, but I did get to feel like I was fifteen again, and sometimes that's fun. If you're looking for something musically on par with "The Blonde Lead the Blind", this isn't the right song to look to. If you're looking to jump around like you would to "1234,1234", then this is the perfect song to do so to.
"The Littlest Things" is another track that sounds a bit more like something off of "Somewhere in the Between". Wonderful hornlines, harmonies, and typical rapid-spoke lyrics by Kalnoky. A general complaint I have for the entire album is how the gang vocals were done. For most of the album, they were recorded in a very pop-y fashion, and sometimes overpower the rest of the music. Luckily, this didn't happen in "The Littlest Things", and I can say it is one of my favorite tracks on the album.
Track four is the title track, "The Hands That Thieve". I can honestly say this whole track took me by surprise, and I had to check that my computer hadn't switched to Floof and the Time Bandits during the intro (for those who know what I'm talking about, it sounds very much like "Resurrection"). Awesome horn lines, and one of the few tracks where I can hear the bari sax pretty well. Nadav Nirenberg just freakin wails through the whole thing, and I'm absolutely jealous of his high chops. The track is generally very high energy throughout, and ends with a wonderful break down sing-along Streetlight style. But then it fades out. What was up with that? Since when does Streetlight fade out?
Next up is "With Any Sort of Certainty", which had its acoustic version released by Toh Kay as a single, before Victory launched a mislead and narcissistic effort to get it purged from the internet. Thanks, Tony Brummel. Anyways, the Streetlight version kicks the acoustic version up into high gear, and has much more punk influence among it, with only a smattering of Ska guitar going on. Overall, it's very true to its folk roots in application (written on acoustic, after all). Then there's the Avant-Garde tribal breakdown bit, probably orchestrated by the jazz nerds in the band. Out of the dissonance, Tomas' voice and guitar comes rising out of the chaos, leading into an amazing set of acapella gang vocals.
"If Only for Memories" continues the direction of being completely different, being more of a straight-ahead Latin song than anything else. One of my favorite tracks on the album, but also probably the most glaring example of the pop-y gang vocals that I'm not a fan of. Seriously, just listen to this track. It's amazing.
"They Broke Him Down" is next, and I'm honestly not a huge fan of this song yet. It almost feels like straight pop-punk, has over-abused gang vocals, and the saxes sound like midi tracks. But lots of other people really like it, so you should probably draw your own conclusions and not let my nit-pickiness get in the way.
"Toe to Toe". I've had this song stuck in my head for the past day. It's probably the catchiest song on the album, though sometimes I feel the chorus is forced a bit in its energy. The rest of the song is generally somewhat laid back, and I almost wish they would have stuck with that. Still, this track is worth listening to if only for Mike Brown's sweet sweet Bari solo and Matt Stewart tearing it up in the middle.
"Oh me, Oh my" is one of the new songs Streetlight played on their previous tour. It's almost a guilty pleasure song, as it's really catchy. It's musically very well done, but lyrically, I feel it's not quite the level we've heard from Kalnoky in the past. It has a lot of lyrical cliches, but again, a guilty pleasure just by how catchy it is. Solid tune.
The album wraps up with "Your Day Will Come", which lots of people keep comparing to "The Big Sleep". I honestly don't see that comparison, but nonetheless this song is wonderful. Starts out a bit quieter, with only guitar and vocals, and eventually works its way up into a perfect album closer. I love how this tune highlights Kalnoky's and Jim Conti's vocal harmonies so well. Just lots of cool different elements in this tune. Thatcher's drumming really frees up Kalnoky's guitar abilities to play some counter-melodies (true for the entire album, actually), and the whole band is just really on point.
Overall, this album was worth the wait, and it was wonderful to see the band head in so many different directions. One more complaint on the whole album is that the bass is really tough to hear, which is a shame given how awesome Pete is at the bass. But seriously worth checking out, as it proves to be another SM masterpiece.
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