I’ve had this album for a while. Last year I listened to it once, was impressed, listened to it again, thought ‘this has good chance of becoming a contender for top 10 albums of 2003 or some such silly nonsense like that’. And then I promptly forgot about it completely.

Enter late August 2004, stage right. I’ve now listened to this album about 8 times in the last two days. This is a very uncharacteristic for me, I don’t tend to slather myself with the same music with great frequency all that much. Not since my discovery of Ted Leo’s The Tyranny of Distance have I had every song from an album locked in repeat in my head, calling to be listened to.

My initial thought of describing the general sound of this album was pop-punk if it didn’t suck. That really is completely off base though, but if you like pop-punk (why god why?) you should like this album, though come to think of it, whatever you like you should like this album. So stop thinking about pop punk, goddamnit, Meadowlands has nothing to do with it. The only real similarity is that Charles Bissel has a singing style that manages to sound young, clear and earnest (like sum 41, simple plan and those ilk) but without sounding like an annoying, whiny bitch. Rather, he sounds daamn fine.

It’s been called emo-pop more than once. And there’s something to that, but if you dislike “pop”, or “emo” than substitute either of those with something similar but more personally pleasing. Staccato pianos, harmonic screeching guitar effects, thudding power chords, interweaving immaculate harmonies on plucked guitars and keyboards. All fighting for dominance against the delicious melodies, a great voice, and some spectacular lyrics. Yes, my friends, this is how music is meant to sound. And while some songs may appeal to each of us more than others, they are all standouts in their own right. There are the slow dreamy ones (She Sends Kisses), the melodic dishes of delight and aching and some yearning with a bit of wry humour (at least in my interpretation of it) thrown in for good measure (Ex-Girl Collection), and the total asskicking rockness of, say, Faster Gun. And lots in between (but those three are for me the stand outs at this time). All the songs still sound quite a bit like one another though, but that’s a welcome thing… you don’t feel like you’re listening to the same thing over and over again, but rather getting extended enjoyment from a magical formula the medieval scientists would have died for. And better yet the best songs aren’t just at the beginning of the album, it leaves the best for last.. and first.

“Ann slams in, another lightning round begins, this could get interesting. Where’s Ann been? She pours herself a don’t-ask gin… no ice and light on the bitters. I’m done with quitters. “Charles, I found out; wipe that smile off your mouth, I think it’s tell-me time…” Listening to the lyrics (these from ex-girl collection) you can tell they are coming from a more mature viewpoint than angst ridden teenage sobbing. Charles sings about personal situations from an experienced standpoint, and makes it all seem quite real.

These are the type of songs which get you anticipating each next plateau on the delgihtful journey from first ringing note to unforgettable, anthemic chorus. They sure milk it, and I love ‘em for it.

Oh. There’s also an accordian, which is automatic bonus points (see p57, the Decemberists)

If you don’t like it at first, listen again.. give it a rest, come back to it, and see if it doesn’t sound like the finest of ear candies. Or maybe you will latch onto it right away like my friend who came over today, heard two chords and said ‘i want this’. Whichever, I wan’t here first, I’m just another in the long line of people who have heard this fine piece of work and determined it necessary to sing its praises. This album deserves to be listened to, and you deserve to listen to it.