MJ Lenderman – ‘Manning Fireworks’ album review: a guitar hero arrives
THE SKINNY: MJ Lenderman might be a name unknown to those who are not fully immersed in the world of contemporary alternative rock. Yet, the North Carolina musician has been making waves for a while now, both as the guitarist of Asheville’s Wednesday and as a solo artist. His previous album, 2022’s Boat Songs, verified his potency outside of shoegaze/country band stylings. And the latest solo album, Manning Fireworks, confirms the extent of what his supporters have long been saying. Lenderman has all the chops to be an artist we tell our kids about.
While Lenderman’s work in Wednesday provides another clear illustration of his songwriting nouse and status as one of this generation’s guitar heroes, his efforts as a solo artist, uninhibited by the creative whims of others, offer the most detailed pieces of evidence. The most valuable of them all is his fifth album, Manning Fireworks, which sees him burnish his craft to a glistening effect and excel in every department.
It might seem ostensibly like a blend of alt-rock and country, drawing on the two forms that make Lenderman the artist he is, but there’s much more going on, confirming it as pure, authentic piece of art, opening him up to a career where he looks destined for the rock major leagues. “His style is effortless,” Drug Church and Militarie Gun’s Nick Cogan told us of Lenderman’s exceptional approach to the six-string in late 2023, and it rings true on the new release.
From the imaginative wordplay to the towering solos Lenderman delivers, on Manning Fireworks, the Wednesday guitarist decisively displays his creative power and gilds a record that will undoubtedly go down as one of the year’s best. While country music might not be for everyone, the way he blends it with other elements is a masterstroke, constructing a journey that leaves a mark. It’s a rare feat of late, but one of this generations finest guitarists, might just be one of its songwriters too.
For fans of: Kurt Vile, the sweet, sweet chimes of a Fender Jazzmaster and Amber Leaf tobacco.
A concluding comment from your local guitar store worker: “He’s good, but he’s no Eddie Van Halen. I would love to see him try and play ‘Eruption’.”
Manning Fireworks track by track:
Release Date: September 6th | Producer: MJ Lenderman & Alex Farrar | Label: ANTI-
‘Manning Fireworks’: Opening with a wistful country melody played on the acoustic before Lenderman’s distinctive voice slices through, this slow introduction makes you wonder what kind of record we might have in store, as the slow waltzing vibe envelops. This is MJ Lenderman, though, and the country essence of the rhythm and fiddle is offset by noisy alternative rock textures, prompting further intrigue about what lies ahead. [4/5]
‘Joker Lips’: Already released as a single, this Faces-evoking track is absolutely exceptional. From the shimmering central guitar line to Lenderman’s lyrics and delivery, it is absolutely perfect for the summer gradually evolving into autumn, channelling that very time-specific blend of nostalgia and regret. It’s a total vibe. [4.5/5]
‘Rudolph’: A more upbeat number that also contains distinct flecks of country, including the slide guitar, this is definitely one of the best tracks on Manning Fireworks. Lenderman excels here, with his dynamic playing and vocals working a treat, and his gritty soloing one of several reminders on the album that he is one of this generation’s guitar heroes. His overdriven tone is immensely satisfying. [4.5/5]
‘Wristwatch’: From one robust cut to another. Whether it be the main riff, the piercing chorus, or the Lenderman’s descriptive storytelling, this song distils what makes the Wednesday guitarist such a force. While he excels in every department here, it’s on the guitar that he demonstrates the full extent of his potency. The searing, expressive solo is one of the best I’ve heard in recent times. Imagine if J. Mascis and Kurt Vile had a sonic child. [5/5]
‘She’s Leaving You’: Another single, this is likely to go down as one of Lenderman’s signature songs in a career that will no doubt continue to produce many successes. His lyrics are particularly emphatic on this cut, which perfectly sit on top of the melancholic alternative rock, which is also bolstered once again by the presence of Wednesday lead, Karly Hartzman, whose vocals dovetail faultlessly with her ex-boyfriend’s. [4.5/5]
‘Rip Torn’: A return to a slower form of indie-cum-country, reminiscent of Alex G, this sparse effort, led by the emotive screeches of the fiddle, certainly caused a moment of intense reflection, offering up a different exhibit of what Lenderman can do. [4.5/5]
‘You Don’t Know The Shape I’m In’: Commencing with a chilled, almost Yo La Tengo-y programmed beat, we’re treated to another exceptionally tender moment. This time, though, it is counterbalanced by the wah effect that enfolds Lenderman’s guitar. This cut is like the smell of fresh coffee on a rainy October morning, utterly exquisite and cockle-warming. The addition of the woodwind is incredibly effective. [4.5/5]
‘On My Knees’: For the penultimate cut, we’re treated to the firm buzz of cymbals, as Lenderman provides one of the album’s most defiant efforts. Another cogent blend of sincere lyricism and his sliding approach to the six-string, this is exactly the kind of composition that wastes no time in burrowing deep into the mind. Good luck getting it out. [4.5/5]
‘Bark At The Moon’: For the final stop, Lenderman surprises everyone with an offering that is exactly ten minutes long. As you might expect from such a duration, it’s quite the journey, too, providing another unfalliable example of his broad scope as a songwriter, all the while managing to stay within the general spirit of Manning Fireworks. Inventive wordplay, yet another masterclass on the guitar and a whole load of textural noise comprise this one, leaving much excitement about where he might head next. [4.5/5]
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