If it is true that good things come to those who wait, Jack’s Mannequin’s second album The Glass Passenger ought to be pretty damn good. Originally slated for release in April, it was pushed back to June, then early September, and was finally released Sept. 30. After three years, a victorious bout with leukemia and several tantalizing postponements, the piano-rock project of Andrew McMahon (former headman of Something Corporate) finally delivers some new tunes, and for their sake, the album was worth the wait. Filled with vigor and spirit, McMahon boldly announces his return to music.
In the wake of the band’s universally praised debut album Everything in Transit, steep expectations had set the bar high for their latest. It seems almost a curse to have a successful first album since the subsequent is almost invariably considered crap by comparison. Thus it’s surprising to see Jack’s Mannequin come back with an album that actually doesn’t flounder under their debut. Although Glass Passenger is far from a failure, it lacks some of the consistency and personality of its predecessor, and as such falls slightly short. Nevertheless it’s still very listenable.
Glass Passenger takes a bit of a somber turn with slightly more obscure lyrics. As expected from Jack’s Mannequin, the great narrative quality to the songs returns on many tracks but often with a more abstract, almost impersonal story behind them. This more serious tone, even dark at times, is reflected most in “Bloodshot,” but is felt more subtly throughout. Despite this shift away from the lighter, more romantic aspects of “Transit,” McMahon’s voice remains as emotive and impressive as ever. It’s incredible how genuine he sounds, particularly in tracks “The Resolution” and “Swim.”
Generally though, the tracks are well composed with various interesting instrumental touches such as glockenspiels, church bells, some synthesizer and airy guest vocals from singer-songwriter Stacy Clark, most telling a very emotive, encouraging, albeit at times ambiguous story of persistence in the face of opposition. Melodic highlights include “Spinning” and “American Love” while “Swim,” a call for morale and resolve, is undoubtedly the most personal track, reflecting McMahon’s health struggle and determination.
The album’s weak spots lie in its extremities. When it strays too far from typical piano rock, either toward heavier rock or simpler piano ballads, the results are spotty at best. “Suicide Blonde” feels too heavy and empty, while the first half of “Caves” is a drawn-out, flat piano ballad that makes getting to the livelier second half a bit of a chore, which is unfortunate since the song really picks up. The sleepy, repetitive “Annie Use Your Telescope” also feels oddly out of place and sounds particularly meaningless.
McMahon’s powerful yet soothing vocals, the mixed orchestrated instrumentals and the smart, quirky lyrics all make for a solid, uplifting album. “The Glass Passenger” brings some diversity to the sound of Jack’s Mannequin, faltering in a few tracks, but ultimately rounding out a deeper, more mature sound. While it doesn’t quite top the band’s debut album, “Glass Passenger” is a strong sequel and offers speculation as to the future development of Jack’s Mannequin, which will be just as awaited.
4 stars out of 5
