genres: progressive indie pop + emo
Not a lot of groups that start out as emo bands can likely make the claim that a subsequent release would feature a 13 minute multi-movement solo piano performance. Especially if it’s not done as a gimmick. And especially not where it’s arguably the best song on the album. But that’s what Mae can claim after this album. On its own, (m)(a)(e) is somewhat overwhelming. It’s fundamentally a pop album that’s over 100 minutes long spread over 17 songs with no filler, silence, or hidden tracks. Half the songs are at least six minutes. Originally this release was structured as three conceptual EPs, representing (m)orning (a)fternoon and (e)vening, but for streaming has been restructured into a single entry that eliminates most of the ambient interludes. Yes, these 100 minutes represent the slimmed down version of this project. But that’s fine, because every single one of them is terrific.
While the textures, melodies, and sensibilities represent the best of early 2010s indie pop, the songwriting owes much more to 70s and 80s progressive rock. The end result is something that’s both entirely unique and perfectly comfortable. Songs range from the bouncy brightness of “The Fisherman’s Song (We All Need Love)” to the determined build of “The House That Fire Built” to the peaceful triumph of “Bloom”. Drawing from such diverse and underexplored stylistic combinations also allows the band to avoid repeating structures or hooks in a way that makes the lengthy run time fly by due to the controlled unpredictability of it all. It would be very easy for this sort of song writing to get out of hand and become over indulgent, but the maturity on display in knowing when to exercise restraint and when to rush ahead is a hallmark of a well experienced group. The ambitious songwriting also never takes away from the incredibly infectious melodies that pepper almost every song. Just give “Communication” or the aforementioned “Bloom” a listen and see.
The music and vocals are certainly the highlight here, but the band doesn’t neglect the lyrical side of the project by any means. Every song is tied into an overarching theme of exploring the concept of love, whether among family, friends, romantic partners, or spiritual contexts. (Or in the case of “The Fisherman’s Song”, hitting them all in about 45 seconds). There’s a cleverness to the lyrics, and getting this much content around a single theme (even a broad one) is impressive. Perhaps a little more thematic variety might’ve served the project, as occasionally the lyrics don’t feel particularly tied to the music in the middle third of the album. That’s really the only complaint to nitpick with this release. The final stretch from “Bloom” to “Sleep Well” however, is emotionally perfect. And, oh yeah, everything is topped off by the best solo piano performance in emo band history (“Seasons”).
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