Ever since 2006’s highly acclaimed ‘…Is a Real Boy’, SAY ANYTHING have been on a somewhat critical downward spiral. Although fans have conveyed mixed opinion over the subsequent releases, their steady move away from a more overt alternative sound has been heavily criticised. Combined with the well documented mental health issues of frontman Max Bemis, the bands fifth full-length is a far more introverted than any prior release.
There are still a few moments of social commentary; particularly ‘Admit it Again’, a straightforward attack on the hipster culture, and lead single ‘Burn A Miracle’. The majority of the record displays more of the turmoil faced by the frontman, although still delivered in the whimsical way fans have come to expect from the band. On ‘Of Steel’, Bemis does little to hide the self-examination, opening with ‘I fell and slipped in a pool of spit that my parents spat out on the day they split’.
Despite this focus, and even with ‘…Is a Real Boy’ producer Tim O’Heir at the helm, ‘Anarchy, My Dear’ is SAY ANYTHING’s pop opus. You would be hard pushed to find many moments delivered with the same ferocity as on the previously mentioned career highlight, accentuated by the increased presence of Bemis’ wife’s pop sensibilities (see ‘So Good’ or ‘Overbiter’). Although the more commercial nature of the album does not necessarily play to the band’s strengths, both ‘So Good’ and ‘Overbiter’ are shining examples of captivating pop. The underlying layer of general disdain helps to keep this firmly in the alternative bracket, but also turns every pop moment into a guilty pleasure. ‘So Good’ in particular is as fluffy as guitar driven music can get, yet its addictiveness defies logic.
It is the last two tracks on the album that truly stand out (the beautifully twisted title track, and the almost eight minute long closing number). Acting as a double edged sword, it is frustrating to witness that SAY ANYTHING retain the ability to write the style of song that powered ‘…Is a Real Boy’, yet choose to use it on a limited basis.
‘Anarchy, My Dear’ excels as both an insight into the working of Bemis’ troubled mind, and as an engaging and immensely listenable pop record. The few moments that hark back to their older style will please fans of their back-catalogue; however the album may veer too much on the clean side for some. That said, the eleven songs on offer are executed well, and the distinctive vocal style provides plenty of character. It may be the bands poppiest outing to date, but it is one delivered with style and surprising credibility.
BEN TIPPLE