Successfully inspiring the weary masses to shake their a$$es
Hailing from the crossroads of I-95, MAN LEE arrives with the goal of getting the weary masses shaking their a$$es (via Youtube Music). On their debut album, Hefty Wimpy, the Brooklyn-based rock band, initially formed by songwriters Sam Reichman and Tim Lee, set out to explore surreal soundscapes and intimate reflections, according to a Blood Makes Noise interview; succeeding in this endeavor, Hefty Wimpy surmounts mixing and vocalization issues to excite its audience with delightful sound investigations and playfully critical observations.
The most notable strength of the album is its captivating and well-executed sonic experimentation. From the interplay between the hypnotic bass, bits of dialogue, and coy vocals on “Party Favor” to the inclusion of introductory warbling synths and a joyful lilting flute solo on “Celery” to the crackling guitar that welcomes the last verse of “Wind” to the kickass guitar riffs and soaring vocals that see “Karate” out, familiar and unexpected instruments, ambient sounds, and vocals are played with distinctly and engagingly on each track in ways that can’t help but inspire hip swaying or head nodding.
Equally well done is the project’s songwriting. Dominating is a cheeky flippancy that combines with the album’s production to evoke whimsically irreverent yet thoughtful listening landscapes. On “Careless,” it serves to (perhaps sarcastically, perhaps self-deprecatingly) express frustration with and weariness of repeated harmful behaviors: “Don’t want to be so careless/Don’t want to be so careless/Say it twice, it might sound right/ Or offer a new conclusion.” On “Party Favor,” it’s the pure fun, audacity, and flirtatiousness of alcohol-influenced party interactions: “There’s something in the water/ And you bet I put it there” and “Can’t recall my bad behavior/ Can I still be your party favor.” Even when it’s somber and serious, dealing with existential dread induced by the uncontrollable passage of time and opportunity (“Best One”), its form and delivery keep things (at least superficially) light: “No one will wait for you / no breath will bate for you / nothing delays for you / no chance to take for you.”
Despite its strengths, Hefty Wimpy falls victim to the expected pitfalls of indie music, including occasional issues with muddled mixing and distracting vocal stylizations. There are points on the album where the lead vocals become overwhelmed by the surrounding instrumentals (1:18-1:21 of “Careless,” “Karate”), making it difficult to follow the engaging narratives being crafted. At times, it works (i.e., when the vocals, intentionally or not, fade into a delicious cocktail of synths, guitar, and drums on the outro of the track “Careless”). Still, on an album where lyrical content is both a focus and strength, it’s disappointing to have anything get lost in translation. Additionally, the speak-singing voice adopted, which inconsistently waffles between being enjoyable and fitting (“Party Favor”, “Wind”) and being somewhat dead and at odds with the instrumentals (“Eventualities,” “Chicken”), creates occasional enunciation and clarity issues and often betrays the demonstrated vocal prowess (see 2:49 of “Karate”) of the lead vocalist. Although these flaws threaten the aforementioned strengths of the album, in the end, they do little to detract from the project.
Ultimately, MAN LEE delivers on its goal to create diverse, groovy, and pensive tunes that inspire movement and engagement of both mind and body through Hefty Wimpy, setting an exciting trajectory for their career.
