![]() Andrew McMahon is an artist who has had a very loyal and passionate following for a very long time. Starting with Something Corporate, which offered a piano-led twist on the emo/pop-punk trends of the early 2000s, McMahon has been regarded as a master of melody and a writer capable of churning out fiercely relatable songs. Suffice to say that BuzzFeed hit the nail on the head (for the first and last time) when it labeled “Konstantine” as the emo “Freebird.” When McMahon transitioned his career from Something Corporate into the poppier and more mature Jack’s Mannequin, it was a testament to his talent as a songwriter, his likability as a performer, and the strong personal resonance of his work that just about all of his fans were willing to go along for the ride. You can pick yourself up You can start walking straight Tonight you're the life of the party When the bar lights come on at your paper parade You don't have to chase down the moon 'Cause I'll leave the light on for you It's not your birthday And it's not the fourth of July Tomorrow's a work day You've got a life and a spaceship to fly You've. Since Jack’s Mannequin ended its three-album journey with 2011’s People & Things, McMahon has only gone further down the pop rabbit hole. Fittingly, it scored Andrew his first charting single on the Billboard Hot 100.Ģ014’s Andrew McMahon in the Wilderness was heavy on synths, big beats, and towering pop hooks. (The song, “Cecilia and the Satellite,” peaked at 96.) The success of “Cecilia” paves the road to Zombies on Broadway, McMahon’s second album under the Wilderness moniker and his purest pop album to date. Indeed, Zombies is the kind of record where at least half the songs could have been the lead single. The actual lead single is the luminescent “Fire Escape,” which splits the difference between where McMahon comes from and where he’s going. The intro and verses are backed by tinkling pianos, while the choruses open up into a skyscraping hook, a colossal bass drop, and a “woah-oh” earworm in the backing vocals. It’s among the catchiest songs McMahon has ever written. Similarly massive are “So Close” and “Brooklyn, You’re Killing Me.” The former offers an infectious danceable beat, while the latter pairs spoken word verses with a big shout-along chorus in a way that recalls parts of “I’m Ready,” from Everything in Transit. Overall, ZoB is weaker than the self-titled album, but still not bad.With songs this big in his back pocket, it’s honestly remarkable that McMahon hasn’t scored more hits throughout his career. ![]() "Island Radio" is original and interesting. "Love and Great Buildings" has pretty good lyrics. "Birthday Song" has good, heartfelt lyrics but the music drags at parts. "Dead Man's Dollar" is an Andrew-style love song that has pretty good lyrics and music. Of course, ZoB still has it's fair share of great songs. The insane, energetic music overshadows the cool, original lyrics. Lyrically, this album is weaker than the self-titled album for two reasons: 1. I wouldn't say that any songs on this album have bad music, but some of the music isn't great or very memorable. "Brooklyn, You're Killing Me" and "Don't Speak for Me" have great music. ![]() Some songs sound like they could be pop or EDM songs, if it wen't for the original, spunky lyrics. ![]() It ditches the deep, timeless music for more upbeat, energetic music. Anyway, here's the review: This album is definitely different from the self-titled album. This effects my review in a negative way, as I have not grasped every song completely. This effects my review in a negative way, I need to be honest, when I wrote this review I had only listened to ZoB all the way through twice. I need to be honest, when I wrote this review I had only listened to ZoB all the way through twice.
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