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Manager - Manager Album

Performer:

Manager

Title:

Manager

Genre:

Rock / Disco

MP3 album size:

1178 mb

Label:

Texacobra Records

Rating:

4.8

Style:

Indie Rock, Indie Pop, Alternative Rock, Garage Rock, Pop Punk, Power Pop

Country:

USA & Canada

Date of release:

2017

Catalog:

TXCBR001

Manager - Manager Album

Tracklist

1Manager
2Off To The Races
3You Haven't The Guts
4Welcome Wagon
5The Match
6Party Service
7Sounds Like Me
8Parades
9Electrical Camp

Credits

  • Bass GuitarLori Cantu
  • Drums, PercussionJohn Dorcas
  • Electric Guitar, Backing VocalsRon Hester
  • Electric Guitar, Lead VocalsJon Chinn

Notes

Brooklyn, NY-based indie rock band MANAGER - self-produced debut album. Recorded at Degraw Sound by Harper James and at Workbook Studio NYC by Jon Chinn, mastered and lacquer cut by Bob Weston, LP pressed at GottaGroove Records (Cleveland, OH).

Barcodes

  • Barcode: 659696443211

Album

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Video

Cordaron
The Agit Reader:
Do you find yourself in the midst of an existential crisis on a nearly daily basis? Do you feel like your sense of self is being encroached upon by federalist forces on one side and the ennui of modern life on the other? Are you at a loss for words but also wanting to scream out a stream-of-consciousness tirade against all the injustices of the world both big and small? Have you, in short, had enough?

You need Manager. Manager knows your pain and is here for you. Manager will do for you what you can't do for yourself. Manager will take the weight from your shoulders. Manager will take care of you.

With its self-titled, this Brooklyn four-piece has created a balm for our souls, a buffer from the hubris of a world gone to shit. In just nine songs, you will find catharsis and relief. You will believe there is still something to believe in.

The healing begins appropriately with “Off to the Races,” an analysis of real-life and metaphorical pain set against a comforting pop hook. Indeed, when singer Jon Chinn sings of notes and chords on “You Haven’t the Guts,” it’s obvious he knows of their curative properties. The centerpiece to the record and the band’s calling card, “Manager” tells of failure and salvation over a criss-crossing of riffs and plaintive guitar lines with office speak allegory. Here, Chinn summarizes our universal want when he admits, “I just want to go home.”

Mastered by Bob Weston (Shellac, Volcano Suns), Manager might remind you of luminaries like Guided By Voices (most of the band shares an Ohio lineage), Bob Mould, and pre-Deschanel Death Cab for Cutie, but there’s no denying that the band has found its own collective voice during its two short years together. It’s an eloquent one at that, an articulation of a 21st century state of being. Someone else once sang about what the world needs now, but Manager has delivered it.
heart of sky
Columbus Calling (columbuscalling.com)
If there was a Columbus Music Hall of Fame, Jon Chinn would be a first-ballot lock, honored for both his songwriting contributions (Pretty Mighty Mighty, The Killionaires, Jon Chinn & The 1803) and the production and recording work he did as one of the founders of Workbook Studio. It’s little wonder that everything Chinn has touched, whether it be fronting a band or sitting behind a recording console, shines with high production value and quality, readymade for shrink wrap and shelf space wherever fine albums and CDs are sold.
Though Pretty Mighty Mighty predated the emergence of emo rock, I often thought, as I watched the band perform at venues like Bernie’s, Little Brothers, and Skully’s, that the kids listening to The Promise Ring and Hey Mercedes could easily find a common ground in emotionally-charged music Pretty Mighty Mighty was performing. Not sure how a major label record deal never fell into the band’s lap, but their influence could be heard in bands that emerged on the High Street scene in the late ’90s/early ’00s.
2017 brings us the debut release by Chinn’s latest project, Manager, a band whose sound doesn’t stray too far from the musician’s previous efforts though, this many years later, the songs arrive with more urgency than ever before. With a new-ish supporting cast (Ron Hester – guitars, Lori Cantu – bass, John Dorcas – drums), Chinn’s guitar-rock recalls the glory days of the mid-90s when alternative rock ruled the world – between the music and the falsetto-style vocals, bands like Sugar, Guided By Voices and the Ass Ponys spring to mind. Though now based in New York City, the band members share common midwest roots and strong working class aesthetic – roll up the sleeves, plug in, rock out, sweat on stage and drink a few beers while doing it.
The albums kicks off with the appropriately-titled “Off to the Races”, setting the tone for the following 33-minutes of passionately-charged, straight up rock and roll. There’s some nifty guitar playing towards the end of the song – and throughout the album – that would have inspired a teenage me to stand in front of a mirror and play air guitar (um … a 45-year-old me may have done the same thing recently).
In an interesting twist “Electrical Camp” reminds me a lot of Miranda Sound, one of the bands that Chinn mentored and influenced while still a regular member of the Columbus music scene, and it’s probably my favorite song on the album with it’s anthemic qualities and reverent guitar playing.
For those of us now settled into careers, the lyrics of “Manager” resonate, whether you’re in a leadership position at work or not (“If the proper process was in fashion, we’d be out with our boys in the bar”, “The interns are wasted, the evidence is speaking”, “Though it’s not quite quitting time, everything that’s on my list is getting old”, “Who is the one that is to blame? I am, I am the manager”).
I don’t really think, come year end, I can include this on my list of favorite local releases even though a few members of the band called Columbus home for a number of years, though that’s okay – this is far more deserving of a spot on the non-location specific “Favorites of 2017” list. While it may play a ’90s nostalgia card, it’s also very timely and relevant and offers proof that guitar rock is not a dying genre.

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