MJ Lenderman: Manning Fireworks

For those of you yet to come across this exciting young talent, MJ Lenderman is an American singer-songwriter and guitarist, best known for his distinct blend of indie rock, country, and Lo-Fi. Emerging from the DIY music scene in Asheville, North Carolina, Lenderman’s music captures a raw, unpolished sound, characterised by gritty guitar riffs and emotionally resonant lyrics. His songwriting often explores themes of love, loss, and the everyday struggles of life, delivered with a straightforward, almost conversational tone that has earned him comparisons to artists like Neil Young and Jason Molina. The latter is also a guiding light to the excellent Waxahatchee, on which Lenderman contributed guitars and vocals on her excellent Tiger’s Blood album, reviewed here previously.

Lenderman gained significant attention with his 2022 album Boat Songs, which showcased his ability to meld introspective storytelling with an alt-country aesthetic. The album was well-received for its authenticity, with many praising Lenderman’s ability to evoke a sense of place and mood through his music. His work also stands out for its lo-fi production quality, which adds a layer of intimacy and immediacy to his sound.

Manning Fireworks is MJ Lenderman’s fourth solo release, and, spoiler alert, it is comfortably his best yet. Not that his previous offerings weren’t great, it’s just that on this record, both his songwriting and his ability to perform reach a whole new level.

The opening title track appears to set the album’s stall out: this is simple, country-infused Lo-Fi, and all the more beautiful for it. However, don’t be fooled, because what follows is thirty-something minutes of altogether richer, more varied material. For starters, the two tracks that follow, ‘Joker Lips’ and ‘Rudolf’, put us immediately in mind of the sadly departed Mark Linkus’s Sparklehourse. This isn’t meant in any way disparagingly – to my mind this is a VERY GOOD THING!

‘Wristwatch’ follows, and ably displays Lenderman’s ability to pen a catchy-as-heck country-rock toe tapper. It’s one of the highlights on the album, and an instant, timeless classic in waiting. ‘She’s Leaving You’ continues in the same vein, and in an album full of well-rendered, snarky lines, stands out as one of the best here lyrically – boy, it sounds bitter.

‘Rip Torn’s full-on fiddle opening cuts across the country rock comfort zone in a way reminiscent of the great Gram Parsons. It’s a fantastic song too, but the way it adds some shade to the album makes it even better in context.

‘You Don’t Know The Shape I’m In’ sees the album take another twist back into Lo-Fi, with what sounds like a dime store drum machine leading the way and perfectly delivered backing vocals from Karly Hartzman. And I know I have mentioned a few souls who are no longer with us – Linkus, Molina, Parsons – but please allow me one more, as this song puts me in mind of David Berman of the Silver Jews, which again should be taken as a compliment. Even the title could come straight off of American Water!

‘On My Knees’ takes us back to country rock, before the closer ‘Bark At The Moon’, which is a ten-minute show stopper, the last seven minutes of which are a Neil Young-like feedback fest! Unexpected, but not unwelcome.

Manning Fireworks was recorded at Asheville’s Drop of Sun studios during multiple four-day stints whenever Lenderman had a break from his hectic touring schedule. Still, it doesn’t sound disjointed in any way.

Yes, there are plenty of diversions, both sonic and subject-related. Still, Manning Fireworks is only going to cement his reputation as a truly exceptional talent, and one who will continue to grow with each passing release.

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