October 5th, 2011 
James Shotwell 
Artist: Jack’s Mannequin
Album: People and Things
Genre: Piano rock
Label: Sire Records
There’s something about the piano as a lead instrument that just cannot be matched. When used properly, it’s classical, eloquent, rich and beautiful, providing a glossy emotional sheath that won’t be equalled by any other musical component. Andrew McMahon is already a seasoned veteran and in his hands the instrument comes alive in the most wonderful way, helping to craft another album filled with gorgeous melodies.
McMahon has described this as a relationship record, and a mature one at that. This conscientious slant is clearly evident throughout in numerous songs that speak highly of love and longing; there’s no sentimental language, though there are plenty of lofty choruses and swells, and everything reeks of sincere feeling. The songs are sunny without being blinding. This much is firmly apparent from the outset with “My Racing Thoughts,” a bright and wholesome flourish laden with optimism. The piano underpins the vocals and light backing instruments like a musical conscience of note, hurrying the song along as the feeling becomes more pronounced and earnest. “Release Me” gives the guitar a stronger voice while the keys tense up a little, and it’s a little grimmer and more austere than the opener. It still has the soft centre, it just adds a little sobriety to its pop sound. McMahon’s vocals are clear and competent, infused with warmth and happily devoid of cheese. “Television” creates a barer, more emotive musical landscape. There’s something breathtaking about it despite its ostensibly loose feel – indeed, when the drums come in proper it almost detracts from the quality of the sound. It urges its way forward on a base of careful synth and percussion, calling in the instruments one by one for a vivid and inspiring combination.
The album retains this grace and elegance the whole way through, rarely putting a foot wrong in its simple, loveable musings on love and life. “Amy, I” is slightly uneven in places, yet this translates well as a vaguely more troubled and greyer perspective on the album’s subject matter. It is sweet and heartfelt, the music a very gentle and natural accompaniment to the feelings exposed. “Amelia Jean” is breezy and enthusiastic also, giving its piano free reign even on a piano-driven record. The simplistic ingredients make for a vivid and rewarding sound.
The one song that gives me pause is “Hey Hey Hey (We’re All Gonna Die).” It’s not too bad, but there’s something weirdly pretentious about its big, brazen chorus compared to how pensive the verses are. The latter are nice– observant and gentle, maximising McMahon’s vocals and his piano skills, so really it’s just the slightly generic midsection that ruins its overall appeal. It feels a touch uncomfortable.
The album’s final three songs are amongst its most impressive. “Hostage” uses the echo of a church bell to bolster some of its more rhythmic moments, a nice resounding inclusion. The song is honest and pleading, very sensitive with more than a touch of vulnerability in the piano notes. The words glimmer with depth and conviction and a spirited piano refrain near the end adds to the soul-baring vibe. “Restless Dream” is very loose and airy, much like the nebulous content of a dream. It features a lone and sullen guitar, together with one cutting lead vocal and a solitary backing one for emphasis. It’s sadder and more reflective, with some very gentle string-type samples in the background to distort the atmosphere a little. It’s lonely and fragile, but it’s a very lovely and sincere track too. “Casting Line” puts on more of a swell for the ending, adding lots of extra vox for the chorus as well as some gentle electric guitar and strong drums for its second verse. It gives way to a more thoughtful denouement however, giving the album just the kind of aesthetic flourish it deserves as a send off.
People and Things is a triumphant delight for McMahon and co. thus, a luminous and engaging addition to his stellar back catalogue. You’d have to be hard of heart to ignore the obvious appeal of these songs, and harder still to ignore the loveable thrills in the piano. An album to last through serene autumn evenings and warm the chilly winter nights.
SCORE: 10/10
Review written by Grace Duffy
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