"Manning Fireworks" - MJ Lenderman
If John Prine was folk’s twain, MJ Lenderman is its Hemingway. His latest album "Manning Fireworks" is a masterclass in lyrical precision, using words sparingly but with a biting edge. Lenderman stretches language like he stretches genre: coupling depth with humor in Lightning McQueen one-liners and happily bringing electric guitar solos to the singer-songwriter field.
The MJ Lenderman cult of personality has peaked this year—he’s everywhere. He features on Waxahatchee’s latest Americana LP, "Tiger’s Blood," and has spent much of the year touring with her, contributing harmonies, including on the lead single “Right Back to It.” Outside of this collaboration, Lenderman lends his talents to the southern-indie-rock heavy hitter, "Wednesday," led by longtime collaborator and former partner, Karly Hartzman. The band has spent the better part of the year touring their critically acclaimed 2023 album, "Rat Saw God."
Somewhere, between album features and international tours, Lenderman found time to write, record, and release his third solo studio album, and "Manning Fireworks" is not lacking.
The album opens with a lo-fi acoustic sound, Lenderman and a guitar; it is simple, sweet and wry— inviting the listener into folksy standards. By the end of the track, however, Lenderman has expanded with crackling electric guitars and reverberating fiddles, blending into the explosive mundanity sustained throughout the album.
I am particularly drawn to MJ’s impressive use of words on this album. Though songwriting is a staple of the singer-songwriter genre, Lenderman excels in this role with remarkable effectiveness. He delivers his message through a breath of literary devices. Some are staples to musicality — rhythm and rhyme. Others, however, delve deeper: metaphor, simile, exaggeration, and sarcasm. These tools help to define the narrative voice of the album. Lenderman leans on them to clearly display the ambiguous and build the acerbic self-pity and childish dark humor fans know as a norm.
In "Manning Fireworks" especially, I noticed Lenderman’s utilization of allusion. Lenderman does not shy away from mentioning his influences. In fact, he does the opposite: two tracks on the album, “You Don’t Know the Shape I’m In” and “Bark at the Moon,” borrow titles from The Band and Ozzy Osbourne, respectively.
Lenderman’s allusions also serve to remind us that the role of acclaimed indie artist doesn't equate to pretentiousness. "Manning Fireworks" is filled with references—from the Bible to McDonald’s, the Catholic Church to "Men In Black"—blending high and low art with the effortless ease of milkshakes (and smoothies).
"Manning Fireworks" begins with a straightforward acoustic arrangement: singer and guitar. As the album progresses, it evolves into a richer sound that includes dynamic electric builds, atmospheric synths, and layered vocals. Lenderman often loops back to the Americana standards seen in the opening of the album, and he does not evade the blending of soundscapes.
Tracks like “Bark at the Moon” feature expansive solos, merging experimental elements with folk roots. Karly Hartzman’s contributions, especially on leadoff single "She’s Leaving You," enrich the album’s sonic depth. Her harmonies add significant vocal variation; her presence enhances both the emotional and textural layers of the album.
Vocally, Lenderman’s raw, drawling voice remains central, providing a striking contrast to the evolving instrumentation. His lo-fi vocals often feel almost out of place, adding to the album's gritty, captivating ambiguity.
The album closes with seven minutes of warping, crackling guitar: a static-laden finale that leaves a haunting and chaotic impression. "Manning Fireworks" is experimental, soulful, silly, and explosive. It can’t help but linger; it leaves you watching for the last sparks, wishing for more.
