Mewithoutyou’s relevance spans well over a decade. they’ve released musical masterpieces time and time again, and haven’t missed a beat with this one. while still not as energetic as their first three releases, it’s as good as hell and is a welcome addition to their discography. .
The ever-changing MewithoutYou never went away or stopped making good albums, but Pale Horses still felt like a comeback, or at least the beginning of a new life for the band. Their two best albums are 2004’s Catch For Us The Foxes and 2006’s Brother, Sister, albums that blended art rock and post-hardcore and quickly earned them a devoted following. They followed those with two albums that took a foray into whimsical indie folk, and great as they were, it’s nice to see them returning to the earlier style. This year they signed to an exciting new-ish label (Run For Cover Records), worked with the great producer many of that label’s bands work with (Will Yip), and toured with a crop of younger rock bands whose music fit right in with their own (Foxing, Pianos Become the Teeth, Restorations, etc). It wouldn’t be crazy to assume that some of those bands’ younger fans were hearing MewithoutYou for the first time, and thankfully Pale Horses is the kind of album that’s perfect for newcomers and longtime fans alike. It’s a return to their best era, but not an exact replica of it. Aaron Weiss often works in the more delicate singing style he developed on the last two albums, but he also saves plenty of time for his trademark speak-shouting. Over music that switches from hushed atmospheres to arty prog riffs to headbanging climaxes, he sounds compelling as ever.
The Fat Angel Sings 