Second Jawbreaker cello arrangement - “Fireman” from the album Dear You. Comments welcome.
as raptoravatar says about the arrangement of ‘Accident Prone’:
“It’s funny, cause if yr an emo/punk nerd, there’s a good chance you’ve post-mortemed “Dear You” at some point. This is the first time that I’ve ever thought the answer to “What went wrong?” is “They didn’t do it on cello… duh.””
although I never consider Dear You as dead, or a dud, so I’m not sure a post-mortem is necessary, I have made severalattempts at dissecting its component parts (lyrically, mostly), and I understand the criticism of it being over-produced (that’s the glory of it!) so yeah… this makes a lot of sense. I prefer this track because I kinda think it’s a better song anyway, but particularly because of the ‘layering’ and the interplay between the what-were guitars (‘Want’ is really cool, too.)
no-one will thank me if it catches on, but I have to say I think ‘emocello’ has a nice ring to it (well, if you don’t say it out loud). this is also the guy who did Jawbox on Cello: A Benefit for Cal Robbins, so if you like 90s abstract guitar pop/post-hardcore twisted from its electric distortion into more sonorous tones and spaces, he’s your man.
First of all, thanks for the shoutout about Jawbox on Cello - it netted at least one sale/donation for Cal! Very awesome.
Someone once said to me that the cello is the “most emo of instruments”, and I kind of agree. So I don’t mind if folks call this “emocello” as long as that’s not the primary signifier (or maybe I should fully embrace it, and transpose everything to d-minor (the saddest of all keys) as well).
I understand how the (possibly-over-)produced sound of Dear You invites criticism, but I agree it is also glorious in a way. In fact, the lack of production on their prior albums is more off-putting to me than the over-production of DY. Those earlier songs deserved better. I’m not of the mindset that punk rock has to sound like it was recorded on a boombox using a “My First Sony” mic and cardboard drums in order to sound authentic. That’s not to denigrate boomboxes and cheap mics - if that’s all you’ve got, go for it! I recorded with only a four-track cassette recorder for years. It’s just to say that we shouldn’t hold up crappy-sounding recordings as an aesthetic ideal. I guess that was the source of my confusion with friends and fellow fans who were disappointed with DY when it came out, and it until I saw this series of posts, it never would have crossed my mind that the debate still existed today.
I will save your lyrical examinations of Dear You in my to-read queue - they sound very interesting!